Voices in Paisley
The final item of business today is a members' business debate on motion S3M-2657, in the name of Wendy Alexander, on Paisley Festival Company and Voices in Paisley 2008.
Motion debated,
That the Parliament congratulates the continued success of the Paisley Festival Company and the Voices in Paisley 2008 choral programme between 24 October and 8 November 2008; notes that the Paisley Festival Company is a recognised Scottish charity committed to increasing the accessibility and impact on the local community through a wide variety of magnificent music and choral events from classical through to folk and jazz, and notes the company's aims to establish Paisley and its environs as a nationally-recognised centre for all types of choral activity and deserving of the title Scotland's Choir Town.
I thank the members who have stayed for tonight's debate after a long day. I particularly thank Annabel Goldie who, on a previous occasion, drew the festival to the Parliament's attention.
Voices in Paisley is an annual festival of choral music that is held each year at the end of October. The fifth annual festival has just ended and I, along with many others, took great pleasure in sampling this year's exceptional programme. The festival provides a musical mix that appeals to everyone. Five years after its formation, it is becoming a truly international festival. It is the basis of our claim for Paisley to become Scotland's choir town, so that Paisley can become to choral music what Wigtown has become to books. That ambition is well founded in local history. Renfrewshire has a long tradition of choral music that dates back to Paisley abbey's foundation in 1163, and it carries on today through local choirs from the Arkleston Singers to the Coats Memorial Choral Society.
The festival is perhaps best known for the cultural benefits that it provides. There are unique opportunities for local people to hear prestigious national and international choirs in their own town. There are opportunities for local choirs to participate in the festival and for individual singers to join the specially formed festival chorus. There are also opportunities for local schools to participate in a range of types of music, from classical to folk to jazz.
My real purpose in drawing the matter to the attention of Parliament today is to highlight the growth of the festival's economic benefits. The festival's long-term objective is to contribute to Paisley's regeneration by attracting visitors to the town. Web-based ticket sales are already attracting festival-goers from far beyond the environs of Renfrewshire.
The scale of the festival grows with every passing year. It was just four events when we started five years ago and it is now nearly 25. As well as the choral events, a fringe event has recently been introduced that involves different vocal styles. This year, there were also two weeks of free lunchtime recitals by young performers from the Royal Scottish Academy of Music and Drama and elsewhere in Scotland who are in the early stages of their careers.
Looking forward, there are ambitious plans. The Paisley Festival Company board plans to establish an international choral competition to place the town firmly on the international choral stage.
Receipts from the festival are rising. Payments for the use of venues in the town preserve the town's architectural assets such as Paisley abbey, Coats memorial church and Holy Trinity church, which are regularly used as venues. An estimated £20,000 has been contributed so far for venue hire. The festival also contributes to the improved public image of the town.
Young people are being introduced to the joys of singing in schools throughout the area, and there is now a local branch of the National Youth Choir of Scotland. One particular highlight of this year's festival was the pre-festival public lecture on the theme "Singing is Good for You!", which was given by Professor Phil Hanlon, the professor of public health at the University of Glasgow, who lives in Paisley. He inspired all those present with the virtues of singing.
As our thoughts turn to next year's festival, we must recognise that it is right to talk about the support that is required.
Since its inception, a dedicated group of people, including the Paisley Festival Company board and volunteers from Renfrewshire's many choirs, have worked tirelessly to mount the festival. I want to put on record, on behalf of the Parliament, our applause for all those volunteers who have made Voices in Paisley possible by giving generously of their time.
Paisley Festival Company is a recognised Scottish charity. It channels all the funds that it raises into promoting concerts locally. Those endeavours have been supported by a number of organisations including Renfrewshire Council, Paisley Vision, Reid Kerr College, the University of the West of Scotland and the Musicians Benevolent Fund.
The festival is increasingly trying to attract matching private sector sponsorship so that it can contribute further to the regeneration of the town. I and some of my MSP colleagues have sought to encourage local businesses to think about supporting the festival. However, in the current economic climate, it is becoming increasingly difficult to obtain funding from private trusts and foundations.
At the moment, the company is run on an entirely voluntary basis by a board of directors. I pay special tribute to its founders, Fred Hay and Tom Wright, and to Alistair Campbell, the current chair, and Mairi Paterson, the festival administrator, who are assisted by the board as a whole and by a small team of local helpers.
The festival is run through an official registered office, but the main work of running the festival is done from a volunteer's home.
Some support has been forthcoming from EventScotland, the awards for all programme and the Scottish Arts Council, but further growth depends critically on the future attitude of those bodies. That is the matter that I wanted to put on record today.
I will close by reading out an e-mail that I received on Sunday from a woman whom I do not know. It reads:
"Dear Ms Alexander
As a Paisley resident who bought a season ticket for the Paisley Music Festival, I just wanted to say to you what a fantastic fortnight it has been.
I saw that you were at the Swingle Singers concert and hope you enjoyed it as much as I did.
There was a great variety of music on offer, all of excellent quality, and the Festival was really well organised. I'm already looking forward to next year and hope the Festival will continue for a long time to come.
It was also good to have something so positive happening in Paisley, particularly just now and particularly given some of the adverse publicity that the town gets.
I do hope the town succeeds in becoming Scotland's choir town – it would be well deserved recognition!
Best wishes
Jennie Hynd"
I did not think that I could put it any better myself, which is why I thought that I would share the e-mail with the chamber.
I hope that this evening's debate, by giving visibility to the enormous success of this largely voluntary festival, which has been running for just five short years, will allow the Parliament to signal its support for this new Scottish cultural landmark and to urge our official arts, lottery and cultural bodies to consider what they can do to ensure that the festival goes from strength to strength and that Paisley's status as Scotland's choir town is assured.
Ms Alexander and I do not always agree, but on Paisley Festival Company and Voices in Paisley 2008 our opinions might be in perfect harmony. To maintain that harmony, I will make no effort to sing whatsoever.
Ms Alexander's motion prompted me to look into the benefits of music and singing. I discovered that simple enjoyment and the promotion of a sense of community are just two of the many virtues that have been identified. So great are the benefits that Heart Research UK has planned a sing for your heart week from 8 to 15 December. I am sure that many members in the chamber, including the Presiding Officer, will be delighted to join in. The idea is not only to raise money for charity but to benefit directly the participants' health and wellbeing.
Heart Research UK's website quotes Professor Graham Welch, of the University of London, who notes:
"The health benefits of singing are both physical and psychological. Singing has physical benefits because it … increases oxygenation in the blood stream and exercises major muscle groups in the upper body … Singing has psychological benefits because of its normally positive effect in reducing stress … Psychological benefits are also evident when people sing together … because of the increased sense of community, belonging and shared endeavour."
The website also cites evidence that singing can prolong life, boost the immune system and keep people looking young. We could all do with that—except, of course, the Presiding Officer.
The website is not alone—anyone who types "health benefits of singing" into a well-known search engine will find more than half a million references. I was pleased to note that one of the Fringe Voices events was a lecture—which Wendy Alexander mentioned—by Professor Phil Hanlon of the University of Glasgow on that very topic.
I do not need to spell out the considerable health challenges that we face in the west of Scotland. It is, however, important to note that the low life expectancy and high levels of heart disease, lung cancer, alcohol abuse and smoking that are found in some pockets of the West of Scotland are interrelated in complex ways. An underlying sense of hopelessness is a major factor in all those health problems, and we must recognise that rather than blame individuals. The arts in general—not least singing and music—should be viewed in the context of doing as much as we can to give people a sense of self-worth, belonging and, therefore, hope.
The Paisley Festival Company ticks all the boxes. The company says that it
"builds on the long and strong musical tradition in the area, the continuing high level of accomplished choral activity and the availability of a range of beautiful and interesting venues dating from Paisley's monastic and industrial past."
Voices in Paisley 2008 and Fringe Voices 2008 not only showcased regional and national talent but featured a healthy sprinkling of international performers, which helped to reinforce Paisley's reputation as a regional and national centre for the vocal arts and boosted its international profile. I was particularly pleased to learn that Fringe Voices included a series of free young artists events, which leads me to two further points, about accessibility and the involvement of young people.
Access to the arts is a human right, as enshrined in the Universal Declaration of Human Rights, which states:
"Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts".
In light of that, Fringe Voices should be commended for making many of the events free. The United Nations Convention on the Rights of the Child states the right of the child
"to participate freely in cultural life and the arts."
It is gratifying to see the explicit inclusion of young people in Fringe Voices events. Not only was there a series of young artists events, but there was a competition for young soloists up to the age of 18, which involved Scots song, musical theatre and other categories.
I am convinced that every pound that is spent in supporting such activities, particularly ones that are grounded in local and national tradition, yields several times the return. The return can probably be calculated in narrow monetary terms—reduced costs for the national health service and the justice system—but I am convinced that the intangible benefits for individuals and communities are worth far more. The Scottish Arts Council might like to take note of that when considering the long-term funding of Scotland's traditional arts.
I congratulate all those who are involved in Voices in Paisley, including Renfrewshire Council, which has been very supportive and has promoted Paisley as Scotland's choir town. I am happy to commend Ms Alexander's motion, and I thank her for lodging it.
I thank Wendy Alexander for lodging the motion, and for her kind remarks about the motion that I lodged three years ago. I recall that, on that occasion, Ms Alexander said:
"I begin by congratulating Annabel Goldie. In fact, I might go as far as to say that I did not disagree with a word that she said. This may be the only time for a number of years that I can make that statement".—[Official Report, 7 September 2005; c 19005.]
I can do no better than quote her words back to her, and say that I entirely agree with her contribution.
As Wendy Alexander said all those years ago, when that embryonic thought emerged in the minds of some musical people in Paisley, it was regarded as a pretty brave aspiration and ambition. I recall—as I mentioned in the previous debate on the subject—going to a concert in Paisley one fairly wet Friday evening, at which the suggestion for the event emerged. The venture is, as Wendy Alexander said, greatly to the credit of the organisers—not just the current chairman and his colleagues, but their predecessors—who have seen it through to considerable effect.
I remember saying that I thought that the festival had three attributes. First, I felt that it represented a particular spirit of determination, not to mention musical talent, that is to be found in the Paisley area, which is to be applauded. Secondly, I thought that it was a good example of partnership with local organisations, including Renfrewshire Council, which is also to be applauded. Thirdly, I thought that it was important that the Parliament recognised the festival not just as the welcome emergence of a cultural activity in Paisley, but as relaying a bigger message and as a means of putting Paisley back on the map after a challenging period for the town. Wendy Alexander and Bill Wilson have articulated clearly just what a triumph that has been for the organisation.
I have a sorry confession to make. This year, for the first time, I was unable to attend any of the festival events. The intrusion of a by-election was more than a little responsible for that. I do not know whether that was a triumph over anything, but cultural enjoyment in Paisley was denied to me, which was a matter of considerable regret.
When one considers some of the organisations and musical groups that the festival attracts, one sees just what it has achieved. Wendy Alexander referred to the Swingle Singers, and the festival has also attracted the King's Singers, Capella Nova, the Dunedin consort and the Royal Scottish National Orchestra chorus. Those are prestigious musical groups. Coming from Bishopton, a village just down the road, I feel privileged that such prestigious music can be found a few miles from my door. I think that that is a tremendous cultural achievement for the festival company.
As Wendy Alexander said, the economic benefits of the festival have never been lost sight of, and I think that they play a role in the festival company's activities. There is no doubt that Paisley is blessed with many rich architectural gems, such as the abbey, the Thomas Coats memorial church and the church of the Holy Trinity. To be able to contribute to their fabric, wellbeing and preservation is very important. I know that the local council aspires to have Paisley identified as a suitable venue for the Royal National Mòd. That is something that all of us from the local area would applaud. If there were any possibility of that happening, we would do everything that we could to promote that objective. In my opinion, Paisley would be a very fine location indeed for the Mòd.
The other, less direct, activity of the festival company and the festival in making links with other organisations, musical education and other institutions in Paisley and the west of Scotland has again been brought to fruition. It has resulted in a good and healthy engagement with the University of the West of Scotland, Reid Kerr College and the Royal Scottish Academy of Music and Drama. Those important connections extend out into the University of Glasgow's school of Slavonic, central and east European studies, with the visit of the Estonian Philharmonic chamber choir. Those are not names just to bandy around; they are solid evidence of what the festival is achieving in the area.
I am very glad to take part in the debate and thank Wendy Alexander for bringing it to the Parliament. It is an opportunity for us all to pay tribute not just to the town of Paisley, which is deserving of praise, but to people such as Alistair Campbell, the directors of the organisation and all those who assist with the festival for doing such a splendid job.
I think that I am correct in saying that, this year, the schoolchildren's concert was unable to go ahead. That ought to be able to go ahead in the future because, of all the events that I have attended at the festival, it really stuck in my mind as a showcase for the talent that is to be found among young people in Paisley. We should also keep a focus on what brings in the money. What is esoteric may be good entertainment for the cultural high-brows of the world, but musical pops are more likely to pay the bills. So, a pragmatic eye must be kept on the economics.
I applaud the resolve, fortitude and resilience of all those who have made the festival happen, and I conclude with a couple of suggestions. First, the festival choirs should come and sing for us here in the Parliament. I am sure that, if Wendy Alexander and I promised not to participate but merely to facilitate, the rest of the Parliament might be minded to support that endeavour. The company would find a very warm welcome awaiting it here.
Secondly, given the tremendous heritage of the Paisley pattern, the Paisley Choral Festival could have a musical tie or scarf in which the Paisley pattern is interwoven with a tonic sol-fa or two—or whatever it is that, in musical parlance, might be interweaved in such matters.
It has been a great pleasure to take part in the debate to support and encourage the participants and organisers of the Paisley Festival Company.
I, too, thank Wendy Alexander for bringing the motion for debate. It is interesting to note the quite stunning degree of consensus that was achieved some three or four years ago. That tradition has certainly been kept up tonight, with members saying that singing is good for us and that they will bring the Paisley choir through. I have a vision of us all dressing up in Paisley pattern and singing a Parliament song before we start business every day—perhaps we would all be a lot cheerier if we did.
Since it was established, Paisley's choral festival has certainly made its mark on the calendar of cultural events. As Wendy Alexander said, it builds on a long tradition of music in the area. The festival brochure quotes the provost of Renfrewshire Council, Celia Lawson, who states:
"Renfrewshire has a long tradition of choral music, dating from the Abbey's foundation in 1163".
The tradition certainly goes back a long time. For a long time, too—not nearly that long, I hasten to add, as I mean decades rather than centuries—I have been attending the odd choir performance in Paisley. It is a fact that Paisley abbey and Renfrewshire's choirs have very much been at the centre of choral music. I have been fortunate enough to have a friend who has been involved in those, so over the years I have seen that aspect of Paisley and it has been a great joy. It hardly seems possible that the vision of Voices in Paisley should have become a reality over the short period of four years. The festival has done exceedingly well.
Will the minister take an intervention?
I will if the member will agree with me and keep up the consensus.
I do not disagree with anything that has been said this evening. Everything that has been put on the record testifies to a vibrant festival that not only adds value to Paisley but contributes to cultural life throughout Scotland.
Wendy Alexander highlighted some of the financial pressures that are associated with such an event. Will the minister use her undoubted influence and long-standing connection with events in the area to encourage the funding organisations to see what they can do to sustain the event in the future?
I very much acknowledge and support the ambitions for the Paisley festival. I encourage the people involved to continue to build on the connections that they have already made with the Scottish Arts Council, EventScotland, Renfrewshire Council—which has been absolutely ace in the way that it has supported the event—Making Music Scotland and the Royal Scottish Academy of Music and Drama.
There is no doubt that local festivals always bring many benefits. As well as the financial benefits, they provide a sense of community, an inflow of tourists and—as Bill Wilson mentioned—an opportunity for people to participate in cultural activities. As Annabel Goldie and Wendy Alexander said, such festivals not only provide performances by leading artists—the Paisley festival is a class example—but involve local young people, which is particularly good. That should carry on. A sense of achievement and of community spirit comes from performing with local choirs and taking part in workshops on singing. The festival builds a sense of community, pride in Paisley's past—which is clearly evident—and a distinct culture in the west of Scotland. At a concert last week or the week before, I was told that about 3,000 people now participate.
Last year, I was able to attend the Starlight Youth Music Theatre event, which was a mark of exactly what Annabel Goldie talked about. I was also able to attend the last Sunday afternoon concert—when they had the Sunday afternoon concerts—which involved Cadenza, an Edinburgh-based choir, and the Russian choir that is based in Glasgow. That was an absolutely super way to spend a Sunday afternoon. I was interested to hear that Wendy Alexander had received an e-mail from Jennie Hynd, because I met Jennie that afternoon. That was another delight that Paisley brought me—I knew her many years ago through work, and Jennie was hugely enthusiastic about the benefits that the festival was bringing to Paisley.
The festival committee has built up good connections with the local community and with educational, cultural and local government bodies. That kind of outward-looking attitude can draw attention to Paisley itself—highlighting a community that is justly proud of its heritage and confident in its future.
Many of the performances at the festival have been noted by other members. I was interested to hear Annabel Goldie talk about Paisley's aspirations to host the mòd. A marked characteristic of the people running the festival is that they are outward looking and willing to grasp opportunities. This year, in a first for the festival, there was a gathering of Gaelic choirs, which marked Paisley's newly formed branch of An Comunn Gaidhealach. The community is moving towards that aspiration.
I understand that Paisley is unique in having a festival dedicated solely to choral music, and it is good that the festival has been supported by the organisations that I mentioned earlier when responding to Hugh Henry. Making Music Scotland is worthy of particular mention: it is one of the 13 volunteer committees in Making Music, which is the UK's largest umbrella body for amateur music. The National Youth Choir of Scotland is also worth a mention. It comprises national choirs and 11 area choirs, which have had a tremendous impact in encouraging singing among children. They do something that is very important for people's sense of wellbeing: they maintain an emphasis on fun. An esoteric performance can be wonderful and a great privilege to see, but we should never forget the importance of straightforward fun. The youth music initiative and the National Youth Choir of Scotland have worked together to ensure that many children can have that fun.
After only four short years, the Paisley choral festival is decidedly on the map and its success has been acknowledged. As the organisers know, success depends on hard work in dealing with administration, raising funds and building relationships. The organisers have proved beyond doubt that they are more than capable of doing that work. I know that Parliament will join me in wishing the festival every success in the future.
Meeting closed at 17:37.