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This year after seven years of steady provision of exciting events and projects for children and young people, Young at Art slowed down activities to address some of the key internal issues hampering its forward planning and sustainability – staffing, systems, financial security and strategic development. Like a caterpillar entering its cocoon, what appeared to the outside world gave no indication to the incredible changes happening underneath. A programme of work involving more than 3,200 children and adults, 44 artists, 36 volunteers and 12 staff was delivered of great quality and with great success across Northern Ireland, including successful collaboration with a range of partners to deliver a fun-packed festival in October. Much work also went into forward planning and development. Then in 2005, the organisation emerged with renewed beauty, strength and energy. A new brand, new offices, new staff and new vision has picked up all the imagination of Young at Art’s founding mission and brought it into its eighth year. This was possible because of the continued belief in, and support of, so many people – funders and public bodies but also the organisation’s staff and Board, its valuable volunteers and the wonderful artists and fellow arts organisations who make each year’s programme so special for every child and adult taking part. Young at Art’s gratitude is marked by its invitation to everyone involved in the year to attend its Annual General Meeting and celebrate the organisation’s achievements. To all those who can’t make it – thank you.

PAGE FESTIVAL 2004 2 OUTREACH & ACCESS 4 ADVOCACY & DEVELOPMENT 6 STRATEGIC DEVELOPMENT 8 MARKETING & COMMUNICATIONS 9 THE YOUNG AT ART TEAM 12 GENERAL MANAGEMENT 14 APPENDICES 15

I. Summary of Festival 2004 events, including attendance figures II. Summary of year-round programme, including participation figures

III. Summary of media coverage IV. Staffing and personnel during 2004 - 2005

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a festival for children & young people 2004 “This year’s festival will travel around the city, from Clifton House in North Belfast, East and West in the Tower St Theatre and An Culturlann and South to Botanic Gardens and Queen’s University. … It draws artists from all over Northern Ireland and the UK, from the Republic of Ireland and France. But the festival in 2004 is about journeys of the mind and the imagination as well as physical journeys. During seven days in October children and young people will take part with their families and their schools in a whole range of exciting performances and activities, beginning them on journeys to map their own worlds or signposting a new route they can try out – through visual arts, theatre, literature or storytelling.” Director Ali FitzGibbon Festival Launch September 2004 The theme of the 2004 festival was journeys. Mirroring the strategic journey Young at Art was going through, the festival used different art forms to stimulate ideas and new directions in its young audiences, at the same time taking them around the city, into some of its most special buildings and into a different realm to their ordinary day. Some events revisited previous successes (the sell-out hits of local puppet company Kernal Trapps – The Anatomist and The Teller’s House), while others explored new territories (the Greek classics for under 12s by storytellers Daniel Morden and Hugh Lupton, an art workshop on a bus tour by the Art Assassins Sheelagh Colclough and Natasha Cuddington). The journeying theme was translated through the internal journeys of children’s books and illustration in the new literature programme the Reading Zone, and also through the imaginative geography of the Small Worlds workshops in Botanic Gardens and various schools. As part of its restructuring and consolidation, Young at Art deferred its annual festival from May to October 2004 and ran it on a reduced scale. Despite this, a wide variety of artforms, venues and ages were catered for with great success. Between 21 – 27 October, Young at Art delivered 53 events (30 performances and 23 workshops) to 2,526 children and adults with events offered for children and young people from 2 to 16 years. 12 venues (most of them non-arts venues) hosted events, with many playing an integral part of the experience - puppets in trees in a forest park, an exploration of CS Lewis’ childhood in his old family church, or a bus taking young people through an introduction to surrealist art. 24 artists presented work in total, many of them offering double bills of more than one show or event, while managing the festival involved 30 volunteers and 10 staff not including personnel at venues. As with previous festivals, both schools and families were catered for with a range of activities suitable for both. Primary, nursery, special and secondary schools attended from Belfast, Newry, Lisburn and Newtownabbey. In addition, artist Sally Young took her Small Worlds workshop out into schools, visiting five primary schools both in Belfast and further afield in the days prior to the festival. In pursuit of a strategic and long-term approach to Young at Art and the festival, a planned adjustment of programming policy, timetabling, pricing and content was piloted with the results informing future programming. Events were targeted mainly at under 12s with only one event for 13 – 16 year olds in a move to maximise limited marketing and programme budgets and also focus provision on a specific age range. This complemented the Belfast Festival at Queen’s programming which was more focused on 12 years +. Prices were adjusted for the first time in seven years (remaining largely between £3 and £5 with some free events and school discounts) with no effects on audience satisfaction or attendance. Due to the change of dates and collaboration with the Belfast Festival at Queen’s the festival ran into a mid-term week for some

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schools and this generated a mixture of audience members as families attended matinees alongside school groups while a small number of parents and teachers felt they had fewer opportunities to attend. Of particular note was the demand for tickets to attend evening and weekend events and the programme experimented with Sunday events and different evening times all with considerable success. Capture of audience information, new attenders, and analysis of attendance was improved through the partnership with Belfast Festival at Queen’s as they offered a full box office facility for all pre-sales using their new computerised box office system. Of particular note in 2004 was the popularity of the literature events with all bar one achieving full capacity and a free drop-in event successfully drawing families into the City Hall. These events all took place in historic or unusual buildings and for many the attraction of the event was not only the content but having access to venues or parts of buildings not usually open to the public. The festival recorded that families travelled from east to west Belfast and vice versa to attend festival events. Attendances were recorded from all over Northern Ireland, and also from England, Republic of Ireland and Scotland with international delegates attending from Denmark and Canada. The festival achieved an overall attendance of 72% while many events sold out, particularly out of school events. Independent audience evaluation (a first for Young at Art) revealed a highly satisfied audience from across the city who felt the festival was of high quality and value for money with a high level of customer care. Audiences were also asked for ideas to improve the festival or programme suggestions and these have informed future planning. Once again the festival was widely promoted to schools and the general public, using the updated Young at Art mailing lists and also ensuring a high profile in locations where families gather – surgeries, health and leisure centres, libraries and shopping centers. As part of its commitment to supporting indigenous artists and developing practice, Young at Art gave a number of artists a platform within the festival. Artists’ collaboration, Art Assassins, were commissioned to develop a project piloting new ways of exploring art history; Kernal Trapps were offered a double-bill of two shows that had previously had limited sell-out runs; Sally Young was given the festival’s theme as a brief to create a workshop project as the Festival Artist in Residence; Northern Irish and Irish authors and illustrators both new and award-winning, including Martin Waddell, Oliver Jeffers, Carlo Gebler and Niamh Sharkey, were showcased in the Reading Zone. The festival also featured a Q & A for Performing Arts students at BIFHE with Velo Theatre, who were hosted by the college. In addition, Young at Art continued to run its annual Open Space meeting (see Advocacy & Development). Indigenous talent was partnered throughout by artists from the UK and other parts of Europe. Visiting theatre from England (My Uncle Arly by Hoi Polloi) and France (Envelopes and Parcels by Velo Theatre) blended with storytelling from Ireland, England and Wales (Niall de Burca, Hugh Lupton and Daniel Morden) and authors from both sides of the border. The overall atmosphere of the festival, although smaller, captured the vitality, variety and quirkiness for which Young at Art is known. While many of the circumstances leading to its deferral were less than ideal, and the organisation (and its staff) had a difficult task to finish the 2004 festival and produce the 2005 festival just seven months later; the festival of journeys in 2004 represented a triumph and a sign of the turning fortunes of Young at Art. More details on the promotion and staffing of the festival can be found in other sections of this report. See Appendix I for a summary of events.

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In 2004, Young at Art curtailed some of its more extensive outreach and development work in order to focus on its restructuring. It was felt that as part of generating an artistic and strategic coherency, the relationship between outreach work (and other projects) outside the festival and the festival itself – Young at Art’s main activity – needed to be made clearer. It was also felt by both the Board and staff that greater awareness and profile was needed for Young at Art’s year-round programme. The year’s programme sought to build on the high quality experiences offered by the company to date throughout Northern Ireland and also the good relationships that existed with so many artists and arts organisations in the development and delivery of projects. With so little time between the 2004 and 2005 festivals, a large amount of advance planning and preparation for 2005-06 also took place. School Friends Year 2: 2004 – 2005 This was the second full year of this affiliated schools programme for 12 primary schools each year outside Belfast (specifically Key Stage 2 pupils). The objectives of the programme were:

To generate relationships with schools outside the greater Belfast area and encourage their involvement in the festival and the arts in general

To offer opportunities for creative experiences to children living in areas with limited access

To encourage schools to become regular attenders and participants in arts activities in their area through generating relationships with regional venues

To introduce teachers and schools to arts activities unfamiliar to them Participation was open to all schools outside Belfast and Young at Art worked with DENI (Dept of Education NI) to circulate notice of applications in the summer term 2004. In addition, Young at Art mailed all teachers who had worked with Young at Art in the previous 3 years. Demand exceeded supply and selection was based on geographical spread and a balance of controlled, maintained and integrated schools. Each school received two in-school workshops, and a trip out for a class group and staff (including transport) to a storytelling performance either in a nearby venue or in the 2005 festival. All participating schools undertook their visit in May 2005 . The workshops took place in November 2004 and February 2005. Belfast-based artist, Colin McGookin first visited the schools and did a very successful willow sculpture workshop with all the children, creating dragons, winged horses and unicorns made from newspaper, willow, masking tape and decorated with paint and other materials. These workshops were extremely successful with pupils and teachers alike and school responses ranged from holding an exhibition of work to asking for instructions to repeat the workshop. The workshop will be featured on the Toolbox website when it goes live later in 2005. The second workshop represented more of a challenge with Nicola Curry, Artistic Director of Maiden Voyage Dance Company, undertaking an introductory dance workshop. A number of the teachers noted hesitancy about this workshop, however, Nicola’s straightforward fun approach and use of simple instructions and contemporary music produced immediate and inspirational results. A number of teachers said this would prompt them to engage in dance activities in the future. By March 2005, the School Friends programme had delivered 24 workshops to 650 participants across Northern Ireland. Hear, See, Taste, Touch (renamed Start at Art) In early 2004, Young at Art and partners Inner East Surestart and the Waterfront Hall joined forces to work on an arts project which would culminate in the 2005 festival. This was the first project under the new programming policy to relate activities to, and promote them through, the annual festival. Commencing in January 2005, Sheelagh Colclough, an artist of considerable experience

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artistically and also as a facilitator with both children and adults, began work with two groups of young mothers and their children attending weekly drop-in sessions at the Surestart Centre on the Albertbridge Road in east Belfast. The objectives of the project were:

To explore high quality participatory arts activity in an open and accessible way with children and young people who would not otherwise have this opportunity.

To use this activity to build confidence, self esteem, pride, ownership, communication and team work among its participants.

To encourage the adult and child participants to see creativity and fun as a part of their relationship.

To contribute to the development of the local communities in which the project takes place and support their wider social, economic and cultural development.

To build on existing partnerships and links between the three partners for the benefit of the local communities.

To leave a legacy of new skills and new relationships from which all partners and participants have learned something, and will inform future activities.

To showcase the end results as part of an international high quality festival in a prestige venue, raising awareness and inspiring both participants and visitors.

A sensitive balance was struck from the beginning between keeping the momentum going while also allowing the women to work at their own pace. A range of art forms (printmaking, sculpture, drawing, photography) were explored, focusing on portraiture. Sheelagh introduced the women to aspects of art history, spending time discussing how other artists had approached self-portraits and portraiture, e.g. Picasso’s women. The groups went on a number of trips to the Waterfront Hall, both to do workshops there and to see exhibitions by other artists. Over time, the women’s confidence grew (both their capacity for self-expression and their creative skill) as did the body of work they produced. At a later stage of the project, artist Jim Russell joined the project in order to do work with the mothers and children together. Inner East Surestart hosted the programme while providing care facilities for the children who were all under four, whilst on a number of occasions both mothers and children worked together with varying success. By the end of March 2005, the workshops were nearing completion and Sheelagh had conceived a framework within which all the women’s work would sit in various locations throughout the Waterfront during the 2005 festival. 18 workshops had taken place with a core group of 16 women (average attendance per session of 5 – 6). Outreach initiatives 2005 - 06 In February 2005, Young at Art commenced work on a number of outreach projects related to 2005 – 06. A freelance Outreach Coordinator was appointed in February 2005. Preliminary consultations took place with the Sonic Arts Research Centre for a development project taking place in April – May and festival staff worked with MA students to introduce them to the sensitivities of devising new technologies for children. In addition, the initial planning and delivery of a second sonic art project began. Sound artist Paul Marshall and photographer Jill McKeown worked with Young at Art to devise a series of workshops with primary schools, culminating in recording a “sonic walk” which would be turned into an interactive exhibition in the 2005 festival.

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In 2004 – 2005, Young at Art continued to place the development of artists and practitioners who create and deliver work for children and young people at the centre of its activities. From the first festival in 1998, the organisation has commissioned new work for each festival and 2004 was no exception. Barely had one festival ended in 2004 and a new visual arts project was complete, then the next 2005 commissioned project had begun. The Open Space annual meeting for practitioners, begun in 2001, continued in 2004 with an emphasis on Young at Art’s relationship as an international gateway for its indigenous arts community. Efforts continued to showcase and raise the profile of the work being done by Northern Irish arts organisations and artists while skills development in related sectors such as youth and education was also an area of work. Festival commission 2004: Crash Course in Surrealism by Art Assassins In Spring 2004, the Director was approached by artists Sheelagh Colclough and Natasha Cuddington. They had founded Art Assassins, a group which sought to reconnect participatory arts projects with the broader context of art history, drawing relationships between art workshops and the artwork from all periods in professional galleries throughout the world. Their idea was both simple and complex – to take a group of young people aged 13 years and above through an introduction to the history, context and values of the surrealist movement by recreating its key moments. Their unique approach was to take it out of schools or galleries and tour the city of Belfast by bus, stopping along the way to enact surrealist events, using the young people as artists. The full tour lasted 2½ hours with three stops. At Belfast Courthouse, participants recreated the trompe l’oeil of Matisse, cajoling passers-by into costume (bowler hats, wigs for faces, black umbrellas) and photographing them. At City Hall, the group recreated the salon complete with linen tablecloths and evening dress. The participants listened to the first surrealist composition while experimenting with automatic writing and creating their own canapés which were served to the public on bicycle tyres and in shoes. At Cornmarket, the general public were invited to recreate key scenes from Dali’s ‘Un Chien Andalou’ while the participants supplied cue cards and videoed the results. At each stage, a briefing session and introduction to the artists and what each event represented happened on the bus while free postcards with inspirational text on the surrealist movement were handed out at each stop. Although the workshops were extremely successful, the project proved extremely difficult to book and an initial six workshops were reduced to four. It underlined for Young at Art its need to distinguish the age range of the festival and find another point in the year to work with older young people. That said, the response from every participant was inspirational. Students, young people attending a Saturday workshop, parents and teachers all raved about the experience. In the words of one teacher it “taught them [the students] more in one morning than I have managed in four years”. Of credit to the artists is the fact that it got young people extremely excited by a historic art movement, it helped them understand its essence and its socio-political context and, of special note, it made them artists in that movement for a day. Festival commission 2005 : “Journeyville” The Journeyville project was initially conceived by the previous director Ophelia Byrne in 2003. Intended for the 2004 festival it was deferred as part of the consolidation process. The project has two elements – the Sensor Shacks, a mixed artform installation in Botanic Gardens, incorporating the five senses in an interactive exhibition; and No Monkey Business (first commissioned under the working title The Time Machine) – a new play by Kernal Trapps Puppets to take place in the Little Pavilion at Botanic Gardens.

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Prior to March 2005, Young at Art had undertaken considerable planning for both the installation and the production, including detailed site visits and discussions with the Parks Department. Katie Blue was commissioned as lead artist for the Sensor Shacks. Four other artists, Angela Ginn, Lucy Turner, Colin McGookin and Stevie Noonan, also agreed to take part. Michael McNulty, playwright and director, had been commission to write “The Time Machine” working with freelance theatre director Jackie Doyle (former Artistic Director of Prime Cut Productions) as a mentor/dramaturg. The initial plot idea of a story around a time machine had to be abandoned however an appropriate substitute was found using themes of animal cruelty and testing. The end result will be part of the 2005 festival. Open Space 2004 Examining the role of other children’s festivals within their indigenous arts community during visits to Scotland, Denmark, Korea and Ireland and in correspondence with other festivals in Canada, Australia and the US, the Director began to build on the pre-existing Open Space initiative and to examine the opportunities for creative exchange and collaborative lobbying that might be offered through the children’s festival. During festival 2004, Young at Art hosted the Open Space meeting with this relationship between festivals and artists. International delegates Peter Manscher from the Danish Children’s Theatre Festival and Jeremy ‘Boomer’ Stacey from the Toronto Milk Festival both attended and outlined how their respective events work, with a marked contrast between the two. This opened up discussion for those attending to examine what they wanted their own children’s festival to offer to them and where collaborations might exist. Suggestions from this meeting informed future planning. Toolbox for Teachers This project first began development in 2003 but was deferred during the initial consolidation process and subsequently delayed in 2004 – 05. The Toolbox was conceived as a ‘recipe book’ of arts activities for teachers, specifically at Key Stage 2. The intention was to invite artists with experience of working both with Young at Art and in schools to write up simple activities that could be undertaken by a single teacher working with a class group. Most importantly, artists were asked to offer both practicality and inspiration – being realistic about materials, equipment, time and space, while also offering options for further development or anecdotal text to help bring the workshop to life. Some ground work was completed by Spring 2004 and five contributors in different art forms had agreed to write a workshop. In 2004, it was agreed that there were two key roles - an editorial function to edit text, add curriculum links and additional materials, and a project management role to keep the project to timetable, identify schools to trial the project and oversee print and design. Attempts to find one person to fulfil both roles created problems and considerable delays although each person taking on the project added another dimension to it. Credit should be given to DC Media who suggested in December 2004 that the Toolbox would serve teachers better as a web resource. In January 2005, the project was taken in-house and work began to develop a website. By March 2005, the project had once again run into delays, this time with technical developments. However, this was resolved and the project brought back on track in 2005 –2006. Once the site goes live, each workshop will detail its relevance to the primary curriculum and the teaching of specific subjects and art forms. Following the initial five workshops contributed by Nico Brown, Ali Campbell, Noel Greig, Nicola Curry and Alacoque Davey, two more were added during 2004 – 05. Frank Quinn who undertook the initial editing of the workshops also contributed a two-stage workshop on shadow puppetry while School Friends artist Colin McGookin wrote up his willow sculpture animals workshop for inclusion. It is intended that artists contributing to future festivals and outreach projects will be invited to contribute related workshops and so build the Toolbox for the future.

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2004 – 2005 was a year of consolidation and progress for Young at Art, both small and large steps. The staff, in partnership with the Board of Directors, began the process of implementing the Consolidation Plan to redress the gap between Young at Art’s planning, its delivery of activities, and its systems and resources. With a full-time Director, complemented by a full-time Administrator from the end of July 2004, this enabled the organisation’s cash flow management, its internal systems and forward planning to take shape alongside the more long-term advocacy and lobbying activities. Continued support from key funders and a planned fundraising strategy enabled the organisation to secure its annual programme and maintain a significant presence both in the youth arts sector and the public arena and give time to redressing organisational weaknesses. The key elements of the Consolidation Plan were as follows:

A comprehensive review and development of the organisation’s internal systems

The development of a company strategy to include review of core activities and objectives

The development of a fundraising strategy to match its future programme and vision

The deferral of the festival in May 2004 to a reduced festival in October, returning to May in 2005

The planned restructuring, deferral and/or removal of various projects Significant work was carried out prior to and during 2004 – 2005 on the review of internal systems. Work was begun on a review of all paperwork and introduction of a common filing system in June 2004, however the pressure of two festivals in such proximity in October 2004 and May 2005 meant work on historic files had to be suspended until later in 2005. The organisation moved offices in November, triggering a review of all IT systems while by the end of March Young at Art had signed up to purchasing its own box office license with additional hardware. Recruitment procedures were reviewed in May 2004 while volunteer recruitment and induction was reviewed in July 2004. A staffing review began in November 2004, leading to a revision of core staff contracts and the creation of pro forma freelance and short-term contracts. A staff and board handbook was in development by the end of March. Board membership procedures are currently under review while a staff appraisal system is yet to be developed. Two Board development days took place, supported by Arts & Business. Freelance consultant Angela Connolly focused on a review of the core aims of Young at Art and significant progress was made by the Board in distilling and tightening the vision of the organisation. A company strategy is yet to be written. The introduction of a fulltime Administrator in July 2004 and the restructuring of the Audience Development Officer’s workload to include securing sponsorship both contributed significantly to securing advance commitments of funding for 2005 – 2006 prior to the end of the year. More work remains to be accomplished in this area, however, changes to how the organisation manages its budgets and plans its activities are generating continued improvement.

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In tandem with the organisation’s process of strategic re-orientation, 2004 - 05 saw a complete overhaul of Young at Art’s branding and positioning. As of March 2005, Young at Art had a fresh new identity; the festival had been re-launched as the Belfast Children’s Festival and the organisation had developed a strong profile through a number of key channels. Underpinning this period of significant activity was a partnership with Paperjam Design. This fresh young design team were instrumental in shaping and facilitating Young at Art’s marketing re-orientation. The key areas of marketing activity in 2004 - 2005 were:

Marketing & PR campaign for festival 2004

Re-brand of Young at Art with separate identity for the Belfast Children’s Festival

Generic profile-building

Marketing & PR campaign for festival 2005 Marketing & PR campaign: Festival 2004 The postponement of the 2004 festival from May to October ahead of the anticipated re-brand posed a number of challenges: how to maintain visibility and profile, how to retain audiences and how to phase out one identity while a new one was imminent. In May 2004, the Audience Development Officer took the opportunity to update and expand the family database through a direct response generic postcard. This created visibility over what would have been festival time and worked extremely well in attracting new audiences. In design terms, Paperjam developed an interim look for the 2004 festival, which anticipated the new brand. The result was fresh and quirky and appealing to all age groups. This carried across the campaign, and proved exceptionally flexible in reproduction in other media. As part of the transitional phase, the old Young at Art logo was not used in any communications. The print for festival 2004 comprised:

30,000 full colour quality festival brochures

10,000 full colour mailback postcards

250 Passport-style launch invitations

1,200 Schools Previews

Website holding page

8 billboard hoardings

3 full colour press adverts

40 branded festival Tshirts

700 branded balloons Marketing for festival 2004 focused on four target groups: previous family attenders, new family audiences, schools and youth groups. The marketing mix included direct mail, promotions in shopping centres, cross arts exit leafleting, targeted print distribution, press and outdoor advertising and a strong PR campaign. The campaign benefited from the tie-in with the Belfast Festival at Queen’s through exposure in its brochure. Around one third of the audience were new to Young at Art. PR Following from a profile raising strategy initiated in 2003-2004, the PR campaign for festival 2004 was robust and thorough. The approach was significantly different from that taken in previous years; instead of focusing on the festival as an arts event, feature ideas were drawn out from human interest angles. This approach, combined with a personal approach to key correspondents, was extremely successful in generating coverage throughout September and October. In total the festival generated 49 different media hits, including features in UTV Life and BBC’s First Stop. The coverage was valued at £54,805.

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AUDIENCE RESEARCH UK arts marketing agency Morris Hargreaves McIntyre was commissioned to conduct Young at Art’s first ever piece of online audience research. There was a high response rate and the results helped to inform the 2005 festival. BOX OFFICE For the first time Young at Art outsourced its box office function to the Belfast Festival at Queen’s. It quickly became apparent that Young at Art’s audiences had specific needs and expectations; in particular, schools required logistical information to make their booking. Despite the problems, this was an extremely useful pilot run and helped to inform requirements for Young at Art’s own box office system in 2005. Re-branding Since its inception in 1998, the organisation’s range of activity had expanded and diversified, with an accompanying range of stakeholders and audiences. Consequently it was felt that the organisation had outgrown its single identity and a process of re-branding was initiated to support the segmentation of stakeholders and audiences along discrete strands of work. The objectives of the re-brand were as follows:

To create a strong corporate identity for Young at Art and establish a separate identity for the festival

To promote the professionalism of the organisation and raise its profile through consistent branding

To launch the Belfast Children’s Festival in February 2005

To attract new audiences to the festival from outside Belfast

Following the submission of a brief in November, Paperjam presented three options for the new Young at Art corporate identity. The successful identity was chosen for its reflection of the company’s values: its hand-drawn logo is child-like, but not childish. In January the new identity was launched along with details of Young at Art’s new city centre office and contact details. The new identity was rolled out onto stationery, including individual business cards (a first for the organisation). These new communications materials gave Young at Art, and its staff a renewed sense of professionalism, as well as conveying the organisation’s varied roles clearly and confidently. Generic profile-building The postponement of the 2004 festival represented a challenge to maintain the momentum of profile-building that had been initiated in 2003 - 2004. Strategic PR activity helped maintain presence with a full colour front page feature in the Belfast Telegraph Jobfinder in May and a feature on the Director’s trip to Korea in July. The coverage for festival 2004 was notable for its movement beyond the arts pages into lifestyle sections, ensuring a much wider and more diverse readership. For example, Northern Woman ran a two page colour feature on author Carlo Gebler, through which the Reading Zone and festival as a whole was promoted. Media interest was maintained post festival with School Friends activity, notably tying in with the Lottery’s Tenth Birthday celebrations. Significant relationships were established with NI4Kids and Early Years Magazine, representing the most widely accessed channels for parents in Northern Ireland. The positioning of the festival as the Belfast Children’s Festival generated a higher level of interest from the Tourism sector. Efforts throughout 2004 to secure a visit from Guardian journalist Dea Birkett were rewarded in early 2005. All Young at Art staff became involved in promoting and extending the range of the organisation and taking advantage of networking opportunities. The Audience Development Officer took a primary role in networks involving tourism, marketing and audience development, including the AMA (Arts Marketing Association), BVCB (Belfast Visitor & Convention Bureau), the Belfast City

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Council Cultural Tourism Network and BAMG (Belfast Arts Marketing Group). The Administrator concentrated on the voluntary sector and developed a wide range of contacts in support of volunteer recruitment and induction, registering with the Voluntary Service Bureau and attending a range of events and training. The Director continued to contribute to the Creative Youth Partnerships Consortium, while also attending a range of arts focused lobbying meetings and focus groups arranged by both Belfast City Council and ACNI. During 2004 –2005, the Director also undertook networking internationally attending a range of festivals and continuing Board membership of the Theatre Shop, an international theatre promotion agency in Dublin, and Play Resource Centre. In addition to existing memberships of the Cultural Tourism Network and BAMG, Young at Art also subscribed to the AMA, NITA (the Northern Ireland Theatre Association), BVCB and NICVA. The office move to the Community Arts Forum in November 2004 also brought it back into the centre of the city’s arts community. Marketing & PR campaign: Festival 2005 The Belfast Children’s Festival was launched in late January 2005 with a truly coherent promotional campaign. Advance editorial in NI4Kids, Early Years magazine and UK glossy Junior was secured alongside the new look advertising. For the first time, the Schools Preview was designed and printed professionally, to present a coherent and professional festival identity to schools. A telemarketing campaign followed the direct mail. By the end of March 2005, the Schools Preview had been direct mailed, launch invitations had been issued, the festival brochure had gone to print and all advertising had been booked.

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Within 2004 – 2005 Young at Art underwent an overhaul in many of its systems, not least in its staffing structure. Increased attention was given to training, and best practice in staffing procedures and employment. Beginning with just two staff, the year ended with 3 full-time staff and a staffing review halfway through completion. Despite a reduced scale of programme, the organisation achieved a great deal in preparing itself for future stability and growth. Acknowledgement therefore must be paid to the staff that managed this change whilst continuing to undertake the organisation’s core and project work with great success. Board of Directors In 2004 – 2005, Board membership also saw some changes with three resignations, however, youth, arts, education, business and the voluntary sectors remained represented. Paula Spence left in April 2004 due to other commitments while Rita Duffy and Carmel Heaney both tendered resignations in September 2004. Anne McReynolds took maternity leave from September 2004 resulting in some temporary movement within the executive positions of the Board. Through the Arts & Business Board Bank, Jeannette Sproule joined the Board in September 2004. The Board undertook a significant role during the consolidation year contributing to strategic planning and attending two Board Development days. Stella Hall and Philip Morrow worked with the Director Ali FitzGibbon on the Administrator recruitment panel while in November 2004, Stella Hall undertook a review of staffing conditions and personnel procedures, working with the Director and Administrator. Core staffing The year began in April 2004 with a core team of two full-time staff, both relatively new to the organisation. Ali FitzGibbon had joined in January 2004 following an advisory period from October 2003 while Alice Jackson, Audience Development Officer, started in February 2003. Ali FitzGibbon as Director was tasked with the process of restructuring Young at Art and moving it on to its next stage of development alongside company management, festival programming, fundraising, budgetary and financial control. Within the consolidation plan, emphasis had been given to stabilising the organisation’s management and, once annual budgets allowed, the organisation began recruitment of a new full-time post. From this process a clear staffing structure was drawn up, illustrating the company hierarchy and staff members’ duties both during the festival and throughout the year. Advertising the post generated a high level of interest with over 450 requests and 87 completed applications before the deadline. Louise O’Neil was recruited as Administrator in July 2004. This was a core full-time post to work with and support the Director in the planning and managing of the organisation’s activities most notably the annual festival whilst taking on day-to-day finance and operational management. Festival staffing In addition to the core staff detailed above and the artists featured in the festival programme, Young at Art recruited a number of staff on a short-term freelance basis for the festival period. All but one of these posts was full-time and all made a significant contribution to the festival and deserve an acknowledgment in its success. Recommendations following a post-festival internal evaluation included volunteer cashiers to assist and free-up the Front of House Managers at events to deal more effectively with customer care and decision making. However, having an experienced and trained team of Front of House Managers enabled the core staff to deal more effectively with tickets sales, marketing and promotion, liaison with artist and venues, volunteer

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management and overseeing production whilst these being paid positions also gave a higher level of responsibility in managing the events and volunteers on the day. Young at Art contracted out its box office for the festival in October 2004 to the concurrent Belfast Festival at Queen’s box office. Although set-up of this new computerised system was completed in haste, with a number of different outlets also selling tickets, this meant that the Young at Art staff team benefited from not having to deal with day-to-day ticket sales but could concentrate on up-selling and marketing events, passing information direct to Front of House Managers for door sales, and dealing with post event reconciliation and reporting quickly and effectively. Also in 2004 – 2005, Young at Art engaged a number of staff in advance of the 2005 festival. See Appendix IV for details. Volunteers Young at Art continued to benefit from the huge amount of interest and involvement of volunteers for the 2004 festival, retaining a number of volunteers from previous festivals, despite the change in time of year. In addition a significant number of new individuals, including both visual and performing arts students, were recruited. As part of the strategic review process Young at Art aimed to support best practice in its volunteer recruitment and induction. All volunteers underwent a more rigorous application process requiring two references and completion of an induction training session covering Health and Safety, Child Protection, Customer Care alongside an overview of the full festival programme and events. Volunteer roles were more clearly defined for this year’s festival with Job Descriptions drawn up for Front of House, Backstage and Workshop positions. This was an area where the benefit of a full-time Administrator became evident as Louise O’Neil undertook the role of recruiting and co-ordinating the volunteers. 24 volunteers took part in the festival, ranging in age from 17 to 50 and offering commitments from 1 – 4 days with one student from BIFHE working alongside Third Source Media in production for most of the week. In addition to training, all volunteers received an eye-catching festival t-shirt and badge and were invited to a festival party with the visiting and local artists on the Saturday night. A number of volunteers took up further work with the organisation over the year. Rita Kardos, an EVS international volunteer from Hungary undertook the role of Outreach Assistant and provided general office support from January to June 2004. Caroline Hall, a 2nd level student, undertook a two week summer placement with Young at Art, working on festival preparation and office archiving. Such was her enthusiasm she ended up performing at the launch (roping in two others) and volunteering during the festival. Adrian Cooke, a Queen’s University Drama and Theatre Studies Graduate also volunteered his services for the festival launch, giving an unforgettable performance as an air traffic control attendant waving guests into the Lagan Lookout. A’Level student from St Michael’s College Lurgan, Eamon Haughian gained experience and an insight into a busy arts organisation and helped with the office move to new premises. Artists Freelance artists and project staff played a vital role in delivering the organisation’s objectives whilst continuing to contribute to the positive impact that Young at Art plays as an employer providing opportunities within the creative industries for new and developing artists and companies. A total of 24 artists were directly employed or commissioned by Young at Art while a further 18 worked on other projects through the year. See Appendices for full details.

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Premises After four years based at Stranmillis University College, Young at Art moved into a self-contained office in the Community Arts Forum building on Donegall Street, in the heart of the Cathedral Quarter, at the end of November 2004. This greatly improved the visibility of, and access to, the organisation whilst also improved the organisation’s own ability to access other arts organisations, forums, networks and training. The use of a board room also proved beneficial for meetings on the premises but away from the general office. This move, coupled with the new look and rebrand early in January 2005, helped to strengthen and forge a more contemporary identity for the organisation – located more firmly in Belfast city - which would lead into the launch of the Belfast Children’s Festival as the new name for the Young at Art festival in May 2005. Internal systems The office move prompted the acquisition of a much needed new computer network. Independent IT consultancy IT-WORX managed a fixed budget to design, order and install two new PCs and a small LAN (Local Area Network) together with anti-virus protection and file back-up along with hosting the organisation’s email and website. By the end of March, Young at Art has also proceeded to install its own broadband connection. While still at Stranmillis, Young at Art had installed a separate fax line, providing an additional line for outgoing calls during busy period. After the office move, Young at Art again set up two lines, and also secured an agreement from Community Arts Forum to ‘borrow’ its fax line for use as a box office number for the 2005 festival. Box office system In June 2004, Young at Art applied for support under a special programme for on-line ticketing systems. Confirmation of a successful application was confirmed in late December. This offered an award for 100% of all hardware and installation costs and 75% of software and maintenance costs – up to a maximum grant of £32,121. An additional condition of the award was that all successful organisations would take out membership of the new audience development agency, Audiences NI, established to help arts organisations increase and diversify their audiences. This additional condition, adding an unbudgeted expenditure £2,420 to the 2005-2006 budgets and £588 to the 2004-2005 budgets on top of the partnership funding required, caused some difficulties in accepting the award. In addition, despite considerable delays in confirmation of the award, Young at Art was given a deadline of three months to accept the award and meet all the grant conditions or the grant would be lost. During this busy period between two festivals, Young at Art examined the systems on offer and revised its budget to purchase a system with lower running and set-up costs but less marketing functionality than that originally applied for. An award of £3,000 was secured from Invest NI’s Leapfrog Initiative through the Nerve Centre, halving the partnership funding still needed. However, Young at Art then had to proceed with the ordering and installation of a box office system with just weeks to go before its festival 2005 launch on 7 April. By the end of March the licence had been secured and the organisation was heavily involved in ensuring the completion of the installation on time.

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APPENDIX I: SUMMARY OF FESTIVAL 2004 EVENTS, INCLUDING ATTENDANCE FIGURES

Details Summary Venue(s) No of perfs/ w’shops

Total Aud/ Ptcpts

Event: My Uncle Arly Artist: Hoi Polloi (ENG) Art form: Theatre Age: 7 yrs +

For audiences of adults and children alike, this production was inspired by the illustrations, life and nonsense poetry of Edward Lear. This was brought to Belfast in collaboration with the Old Museum arts centre.

Old Museum arts centre, Belfast

5 399

Event: The Anatomist Artist: Kernal Trapps (NI) Art form: Puppet theatre Age: 10 yrs +

A gory madcap performance in which a live autopsy was performed on a puppet to determine who controls the puppet world – himself or the hand. Adding to the atmosphere, the production was performed in a demonstration theatre in the Dept of Chemistry.

Lecture theatre, David Keir Building, QUB, Belfast

5 257

Event: Envelopes & Parcels Artist: Velo Theatre (FRA) Art form: Theatre Age:5 yrs +

First created over 20 years ago, this unique non-verbal one-man show has traveled the world, amazing audiences. A perfect example of object theatre.

Tower St Theatre, Belfast

5 454

Event: Tales by Torchlight Artist: Niall de Burca (IRE) & Julie Turkington (NI) Art form: Storytelling/Visual arts Age: 7 yrs +

One of Ireland’s liveliest and foremost storytellers, Niall de Burca thrilled and spooked audiences under the River Lagan where the only light came from their torches, decorated in a pre-show workshop with Julie Turkington.

Lagan Weir Tunnel, Belfast

2 73

Event: The Teller’s House Artist: Kernal Trapps (NI) Art form: Puppet theatre Age: 5 yrs +

The 2nd of the puppet double bill, children hunted through Belvoir Forest, deciphering an ancient map to find the Teller’s House, meeting creatures along the way and ending with a unique performance in a woodland grove.

Belvoir Forest Park, Castlereagh

5 254

Event: War with Troy Artist: Daniel Morden (WAL) & Hugh Lupton (ENG) Art form: Storytelling Age: 7 yrs +

Drawing on the popularity of blockbuster films such as Troy and Alexander, Daniel Morden and fellow performer Hugh Lupton brought The Iliad to life in a gripping 90 minute

Lagan Lookout, Belfast

2 102

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performance.

Event: The Odyssey Artist: Daniel Morden (WAL) & Hugh Lupton (ENG) Art form: Storytelling Age: 7 yrs +

Pairing the performances of The Iliad, the storytelling pair also performed the tale of Odyssey within sight of Belfast’s landmark building of the same name.

Lagan Lookout, Belfast

1 58

Event: Reading Zone Artist: Carlo Gebler (NI) Art form: Literature Age: 9 yrs +

Award-winning author Carlo Gebler read from his best selling children’s books, including unheard work from his latest epic The Bull Raid.

Robing Room, Belfast City Hall

1 18

Event: Reading Zone Artist: Oliver Jeffers (NI) Art form: Literature Age: 3 – 6 yrs

First time children’s author/illustrator and wellknown local artist, Oliver Jeffers read from his work and gave a sneak preview of his new book.

Reception Room, Belfast City Hall

1 36

Event: Reading Zone Artist: Martin Waddell (NI) Art form: Literature Age: 3 – 7 yrs

Winner of the Hans Christian Anderson Children’s Fiction Award, Martin Waddell read from many of his beloved children’s books.

Clifton House, North Queen St, Belfast

1 45

Event: Reading Zone Artist: Niamh Sharkey (IRE) Art form: Literature Age: 3 – 6 yrs

Nominee for the Bisto Prize, author/illustrator Niamh Sharkey read from her work and led a short illustration workshop.

An Culturlann, Falls Rd, Belfast

1 38

Event: Behind the Wardrobe (Reading Zone) Artist: Niall Cusack (NI) Art form: Literature Age: 7 – 11 yrs

Devised by Niall Cusack in association with Young at Art’s Director, a fictional character led children through CS Lewis’ childhood in Belfast, in the church where he was baptised, then settled down to read from key moments from ‘The Lion, the Witch and the Wardrobe’.

St Mark’s Church, Holywood Road, Belfast

2 85

Event: Reading Zone – Free Drop-in Art form: Literature Age: 0 yrs +

A highly successful free event at which families relaxed on child-sized bean bags with a choice of over 500 of the best young fiction books.

Reception Room, Belfast City Hall

2 x 3 hour sessions

75

Event: Crash Course in Surrealism Artist: Art Assassins (NI) Art form: Visual arts Age: 13 – 16 yrs

The festival’s 2004 commission introduced young people to one of the 20th century’s most exciting movements – surrealism – while traveling through Belfast on a bus.

Bus tour throughout Belfast city centre

4 x 2.5 hour workshops

110

Event: The Great Expedition Artist: Sally Young (NI) Art form: Visual arts Age: 3 – 11 yrs

The festival’s Artist in Residence Sally Young traveled around primary schools with an exciting and enjoyable art workshop. Children explored maps and created their own worlds and cities, using recycled and biodegradable materials to make houses, schools, farms

St Francis de Salle PS, Belfast St Joseph’s PS, Newtownabbey Jordanstown School St Joseph’s

5 x 2 hour w’shops

142

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and anything else in their world.

PS, Belfast Whitehouse PS, Newtownabbey

Event: Small Worlds Artist: Sally Young (NI) Art form: Visual arts Age: 3 – 11 yrs

As above, children built their worlds but placed them in different locations in Botanic Gardens, building a range of worlds throughout the park each day of the festival.

Little Pavilion, Botanic Gardens, Belfast

7 x 1.5 hours, 7 x 2 hour workshops

363

Event: Open Space 2004 Artist: Peter Manscher, ASSITEJ/Teatercentrum (DEN); Jeremy ‘Boomer’ Stacey, Toronto Milk International Children’s Festival (CAN); Ali FitzGibbon, Young at Art (IRE/NI Age: 18 yrs +)

Young at Art hosted a group discussion with members of the arts and youth sectors about the relationship between festivals, the indigenous arts community and the wider international arena. Contributions from Danish and Canadian festivals enhanced the event.

Waterfront Hall, Belfast

1 17

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APPENDIX II: SUMMARY OF YEAR-ROUND PROGRAMME, INCLUDING PARTICIPATION FIGURES

Details Summary Venue(s) No of perfs/ w’shops

Total Aud/ Ptcpts

Project: School Friends Workshop 1: Willow Sculpture Animals Artist: Colin McGookin (NI) Art form: Visual arts Age: 7 – 11 yrs

As part of its affiliated schools programme, Colin McGookin visited 12 primary schools, encouraging their imaginations while developing their problem-solving and construction skills. This was an enjoyable and successful workshop that could easily be adapted to different themes and objects (Christmas, dinosaurs, etc). The workshop will also feature in the Toolbox for Teachers.

Windsor Hill PS, Newry St Patrick’s PS, Hilltown St Mary’s PS, Portglenone St Brigid’s PS, Coalisland St Tierney’s PS, Roslea Enniskillen Model PS Newbuildings PS St Patrick’s PS, Derry Windmill Integrated PS, Dungannon Mill Strand PS, Portrush Londonderry PS, Newtownards Fort Hill PS, Lisburn

12 325

Project: School Friends Workshop 2: Introduction to Dance Artist: Nicola Curry (NI) Art form: Dance Age: 7 – 11 yrs

This was the second visit to the participating schools, bringing a gentle but stimulating introduction to dance and movement.

As above 12 325

Start at Art (working title Hear, See, Taste, Touch) Artist: Sheelagh Colclough; Jim Russell Art form: Visual arts (multi-arts) Age: 16 yrs + and 0 – 4 yrs

This residency worked with young mothers and their children over a period of months, developing their confidence, self-image, and creative skills. With almost weekly sessions, the project was a well paced introduction to portraiture using photography, wire sculpture, printmaking, and drawing.

Inner East Surestart, Albertbridge Rd Waterfront Hall

14 (by end of March)

3 – 8 per session from group of 16 adults

A number of other projects were undertakn or begun in 2004 – 2005 however, there were no tangible participation figures before March 2005.

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APPENDIX III: SUMMARY OF MEDIA COVERAGE 2004 - 2005

Date Content Editorial Photograph Publication/Radio TV

1 April 2004 Festival on Tour Full press release on Daniel Morden

Photo Impartial Reporter Enniskillen

Mar/April 2004 Listing Listing Colour illustrations Artslistings

10 April 2004 Competition to win Daniel Morden’s book

Cover of book Irish News

11 May 2004 What job do you do

Full front page of Jobfinder

Colour photos Belfast Telegraph

17 July 2004 Director’s trip to Korea

Interview B&W photo Newsletter

June 2004 Golden Ticket promotion

NI4Kids

September Listing IHIL

Sept/Oct Feature Festival feature Colour Illustration Whatabout

Aug/Sept Reading Zone Competition Colour book covers Early Years Magazine

Sept/Oct Feature Festival feature Colour illustration NI4Kids

Festival launch Paragraph Sunday Life

8 September Director selects festival favourites

NVTV

10 September Festival launch Feature B&W of kids Colour on cover

The Newsletter

10 September Festival launch Feature B&W Irish News

10 September Festival launch Belfast Telegraph 247

11 September Interview with Ali Interview B&W photo South Belfast News

13 September Interview with Ali Interview Colour photo Anderstonstown News

16 September Generic festival release

Feature Community Telegraph

18 September Festival launch Feature Colour photo of puppet and kid

East Belfast Observer

16 September Volunteer call Short piece Ulster Herald

16 September Festival launch Man about Town

B&W photos Belfast Telegraph

18 September Tales by Torchlight

Ulster Diary Belfast Telegraph

23 September Generic festival release

Article Community Telegraph

23 September Volunteer Call Short piece Newtownards Spectator

23 September Volunteer Call Short piece County Down Spectator

30 September Volunteer Call Paragraphs Community Telegraph Sth East

30 September Volunteer Call Paragraphs Community Telegraph Nth Belfast

30 September Volunteer Call Paragraphs Community Telegraph Nth Ards

30 September Reading Zone with Dekko

Colour photo Irish News

30 September As above Colour photo Belfast Telegraph

October Interview with Carlo Gebler

Interview Full page colour photo

Northern Woman magazine

October Festival and Tool Festival and Colour illustration Junior Focus

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Box Tool Box

October Event listing Festival events Listing NI4Kids

7 October Daniel Morden interview

Radio Ulster: Arts Extra

8 October Festival events open for booking

Para listing Belfast Telegraph 247

8 October Alice’s festival highlights

Feature B&W illustration Belfast Telegraph 247

13 October Female illustrators

Interviews with Stray and Niamh Sharkey

B&W photo Irish News – Womentalk

14 October Alice interview on festival highlights (Dekko mentioned)

Citybeat Entertainment Guide

14 October Reading Zone Caption Oliver Jeffers + Caption

Belfast Telegraph

14 October Reading Zone Feature 4NI website

14 October Reading Zone Feature Cover of book Belfast News

15 October Reading Zone: Carlo Gebler

Paragraph Belfast Telegraph 247

15 October Reading Zone Feature B&W photo of Oliver Jeffers

Newsletter

15 October Crash Course Interview feature

B&W photo Belfast Telegraph 247

16 October Listing Listing Guardian Guide

16 October Small Worlds Para on Small Worlds

Irish News

18 October Reading Zone Interview with Carlo Gebler

Citybeat Entertainment Guide

18 October General Festival Mini feature Footage of Kernal Trapps

First Stop

19 October Great Expedition in schools

Feature on Great Expedition

B&W photo Belfast Telegraph Education supplement

20 October General feature on festival

Editorial on festival

Colour photo The Newsletter

22 October What I’m reading Para and photo B&W photo Belfast Telegraph 247

22 October The Anatomist Theatre highlights

Belfast Telegraph 247

22 October Crash Course in Surrealism

Colour photo & caption

Irish News

23 October Reading Zone Reading Zone Colour photo South Belfast News

30 November Junk Art workshop

School Friends B&W photo Belfast Telegraph

8 December Junk Art workshop

School Friends B&W photo Mourne Observer

8 December Junk Art workshop

School Friends B&W photo County Down Outlook

December The Teller’s House

Festival Review Colour photo NI4Kids

31 December Little Mermaid Forthcoming events

Ulster Star

Feb/March Festival 2005 Festival 2005 NI4Kids

18 February Dance workshop School Friends B&W photo Ulster Star

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APPENDIX IV: SUMMARY OF PERSONNEL AND ARTISTS Board of Directors Membership in 2004 – 2005 Anne McReynolds - Chair Malcolm Smith - Treasurer (Acting Chair from September 2004) Philip Morrow - Treasurer (from September 2004) Stella Hall (Resigned August 2005) Lizzie Devlin Jeanette Sproule Gillian Mitchell (Board co-optee September 2004) Paula Spence (Resigned April 2004) Carmel Heaney (Resigned September 2004) Rita Duffy (Resigned September 2004) The Director Ali FitzGibbon undertook duties as Company Secretary. Core Staff Ali FitzGibbon - Director (January 2004 – present) Louise O’Neil - Administrator (July 2004 – present) Alice Jackson - Audience Development Officer (February 2003 – August 2005) Festival Staff

Monica Callan - Front of House Manager October 2004 Sinead Coll - Front of House Manager October 2004 Mave Dempster - Front of House Manager (p/t) October 2004 Janice Smyth - Front of House Manager October 2004 Teresa Jackson - Box Office Manager March 2005 Monica Callan - Outreach Coordinator (p/t) February 2005 Volunteers and Placements

Rita Kardos - part-time Outreach Asst January – June 2004 Caroline Hall - volunteer July 2004 Christine Hall - volunteer Festival Launch Clare Cahoon - volunteer Festival Launch Adrian Cooke - volunteer Festival Launch Eamon Haughian - student placement November 2004 Alyson Taylor - volunteer Festival 2004 Anthony Kirby - volunteer Festival 2004 Caroline Hall - volunteer Festival 2004 Caroline Boyle - volunteer Festival 2004 Debbie Hammill - volunteer Festival 2004 Eileen Branagh - volunteer Festival 2004 Grainne McMahon - volunteer Festival 2004 Helen Murphy - volunteer Festival 2004 Janice Croft - volunteer Festival 2004 Jenny Groves - volunteer Festival 2004 John Gribbin - volunteer Festival 2004 Laura Nelson - volunteer Festival 2004 Lisa Morgan - volunteer Festival 2004 Marlene de Beer - volunteer Festival 2004 Mary Gribbin - volunteer Festival 2004 Michael Devenney - volunteer Festival 2004 Philip Jones - volunteer Festival 2004 Sabrina Sweeney - volunteer Festival 2004 Sarah Jones - volunteer Festival 2004 Sharon Millar - volunteer Festival 2004

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Shauna Crawley - volunteer Festival 2004 Stephen Beggs - volunteer Festival 2004 Wendy Roberts - volunteer Festival 2004

School Friends Year 2: 2004 - 05 Workshop Artists Nicola Curry Colin McGookin Tool Box Contributing Artists Frank Quinn (also Toolbox Editor) Alacoque Davey Nicola Curry Noel Greig Colin McGookin Nico Brown Ali Campbell Hear, See, Taste, Touch (renamed Start at Art) Sheelagh Colclough - Lead Artist January 2005 - Jim Russell - Contributing Artist March 2005 Open Your Earlids Paul Marshall - Lead Artist February 2005 - Jill McKeown - Contributing Artist February 2005 - Journeyville: The Sensor Shacks Katie Blue - Lead Artist/Coordinator January 2005 Colin McGookin March 2005 Angela Ginn March 2005 Stevie Noonan March 2005 Lucy Turner March 2005 Journeyville: No Monkey Business Michael McNulty (playwright/director) December 2004 Jackie Doyle (mentor) December 2004