Balladeer Apr 08

Monthly Newsletter of ACOUSTIC ROUTES

April 2008

Not a gray hair to be seen ... ... on stage anyway Come along and hear what the younger generation of folkies has been cooking up in the name of folk music. James McNamara and Skye Chadwick Meghan Glue Nick Burfield and Doom Kitten

“You've got to do your own growing, no matter how tall your grandfather was.” ~ Irish sayings quote

(And another little gem: “It is not by the gray of the hair that one knows the age of the heart.” ~ Edward Bulwer-Lytton)

SUNDAY 27 Apr 8 PM $10/$7 TOI PONEKE (Wellington Arts Centre), ABEL SMITH ST www.acousticroutes.org.nz 1

Acoustic Routes PO Box 27-191 Marion Square Wellington, New Zealand. www.acousticroutes.org.nz [email protected] Acoustic Routes (Wellington Folk Centre) is a club for people who enjoy performing and listening to music with the emphasis on folk and acoustic styles. Monthly Concerts are held at Toi Poneke (Wellington Arts Centre, Abel Smith Street), on the fourth Sunday of each month at 8pm. These feature an invited guest performer, with a variety of supporting acts to open the show. Door charges are $7 for members, $10 for non-members, and school-aged kids free. Free tea and coffee. Singarounds are held at Toi Poneke on the second Sunday of the month. These are more informal sessions where anyone can perform or lead a song. Door charge $5. Jam Nights happen at Toi Poneke on the third Sunday of the month. Door charge $5. The emphasis is on making music together as a group - joining in and having the opportunity to lead or add your own flavour to the mix. Murray Kilpatrick will facilitate but everyone will have the opportunity to lead a song or tune Club Committee 2007-8 : Gerard Hudson 565 3432 [email protected] : Sue Ikin 478 4160 [email protected] : Sue Hirst Mike Hickman 232 3123 Ruth Birnie 565 3432 [email protected] Shirley McGregor 478 0390 [email protected] Balladeer Janette Munneke 477 2563 [email protected]

The Balladeer This newsletter is produced once a month for Acoustic Routes members and other subscribers. Contributions are welcome and should be emailed to Janette by the 15th of the month preceding the month of issue. Publication is the last weekend of the month. Relevant publicity leaflets may be inserted with mailouts, at the discretion of the committee.

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Report from the president on the Review of Acoustic Routes activities I want to report on the meeting of the sub-committee recently established to discuss the issues raised in Murray’s letter and subsequent comment and input from members. But first, a notice:

Wanted – energy, ideas, drive … a new President It’s getting well into 2008 and before we know it, we will be at another Acoustic Routes AGM. I wouldn’t usually be raising this so early but this year we want to make a change ... I’ve had the privilege of being President for 4 years now. It’s been a lot of fun and very rewarding – but the 4 years has taken a lot of energy and I feel like channeling my energy in other (more flexible) ways so I won’t be standing for re-election this year. So this is a memory jogger for anyone who would be interested in taking on the President’s role … start thinking about it … yes it takes commitment but it also brings great rewards – close involvement in setting the club programme, getting to know our guest performers better, and the satisfaction of seeing our friends and audiences’ reactions to a great gig or club night – and knowing you contributed to that event. The club has heaps of potential, a great committee (who really share the workload) and a great group of loyal members. If you have ideas, energy, and would like to get involved let us know – express interest and we have time to tell you anything you want to ask ... within reason … !?!??! Also feel free to nominate others (or prompt them to volunteer)! Sub-committee report The “sub-committee” has met and we had a good discussion. You can read Murray’s letter and some of the responses in the October 2007 issue and subsequent issues. One of the responses was a suggestion that a “sub-committee” be formed to discuss the issues - the sub-committee has now met, and we had a good discussion. We tried to categorise the issues raised and come up with some ideas for changes that may improve each area. The article below gives a summary of the key points 2

from a formal report that was presented to the committee. Thanks to Dale Lacey who chaired the subcommittee and gave us a process to use in conducting the review, and to Murray and Col Wright who joined Dale and I as the Sub-committee. Thanks also to Ken Allen, Carol Bean, Margaret Pullar, Jill Brasell, Nik Curry and Andrew Yeoman who all contributed ideas and opinions for us to consider. Some of those ideas raise even more discussion so issues will continue to be considered and discussed. Watch the space for changes to the nature of events – and please contact me at [email protected] (or phone 565 3432) if you would like to add further to our thinking. The subcommittee did not make any recommendations that go to the heart of club organisation or governance so the sub-committee didn’t see a need for the special meeting of members suggested in Dale’s original process plan. Some of our member feedback raised questions about pricing of events and membership. The subcommittee did not delve into the complexities raised by these subjects – focusing on the issues with attendance, activities, event structure and social issues that were raised in Murray’s letter. I have taken up this discussion directly with the full committee and invite other comments on the value members feel they receive for their subscriptions and concert fees. Cheers, Gerard Recommendations A smorgasbord of options is listed below. We recommend that the Club Committee consider these, implementing those they consider useful and practical, over a timeframe they consider appropriate. When announcing the review, the President stated that this report would be presented at a Special General Meeting. We consider that an SGM is now unnecessary, as all the options are within the Committee’s mandate. (Continued on Page 3.)

the sessions more attractive by providing more variety, and to provide more performance opportunities. IMPORTANT: We are aware there are risks to this option. For example, those who aren’t confident enough to perform (in the blackboard half) may resent having only one opportunity to perform in the less stressful singaround. We think the ideas well worth pursuing, but strongly recommend that reaction to the changes be actively monitored. 4. Improve the look of the clubrooms (for example, with a backdrop behind the performance area) to make the rooms less sterile and more welcoming. 5. Establish whether there’s a demand for alcohol at the various regular Club events (singarounds, concerts, etc) to provide a more social environment.

Report continued from page 2: Higher priority (in no particular order) 1. Provide an additional ongoing event, under the auspices of the Club, but which young people define, organise and run, in order to provide a service to young people and to generate a source of new blood for the Club. 2. The default concert format is three floor spots followed by a “name” performer. Change the default to club performer + one floor spot + two “name” performers, in order to provide members with more performance opportunities, provide more variety for audiences. 3. Combine the formats of the various participatory sessions into one night, for example, 1st half singaround, 2nd half jam session, or 1st half singaround, 2nd half blackboard, in order to make

Keeping up attendances Here are the letters that were considered by the review sub-committee along with the comments in the October and November 2007 issues. Please note that all were discussed at the sub-committee meeting, and it was felt that Jill Brasell’s in particular should be discussed by the wider membership. Any changes to the cost of membership has to be ratified by the AGM, so it would have to be proposed in advance of the AGM in August 2008, and come into play the following year - so there’s plenty of time to give Jill’s proposal some serious thought. Ed

7 months.) The Balladeer would be included in $100 memberships, but not loyalty-card memberships. Non-members could still subscribe separately to the Balladeer as at present. Advantages I can see many advantages to this arrangement: - the club would get more of its income upfront early in the year - there would be less cash handling at concerts - low attendances at particular concerts would be less of a financial concern - club members, having paid in advance, would want to get their money's worth and so be less likely to skip events - not having to pay at the door would give members a greater sense of belonging and status - the loyalty card would give non-members an incentive to attend more frequently. Let's discuss it Perhaps there are some disadvantages to this idea I haven't thought of, but in any case some discussion of it would be good, both in the group set up for it and here in the Balladeer. What do you think? Jill Brasell

Keeping up attendances Following Murray's recent article about the direction of the club, attendances at events, how to make it a club rather than a venue, etc, here's an idea that the discussion group might like to add to their agenda. The membership maths A single membership (without discount) costs $35. If the member goes to, say, 9 concerts during the year @ $7 (= $63) and 5 other Sunday events at $5 (=$25), their year's worth of folky entertainment will cost them $123. However, if they decide not to join, but go to the same events, their total outlay will be only $115. (Although, as they haven't paid anything in advance, they are probably less likely to attend as many events.) Without labouring the point, it's clear that the maths doesn't offer much incentive to join, or to make a habit of attending club events. A better way? Let's say membership is $100, with all regular club events free for members. Non-members continue to pay $10 for concerts, but they get a loyalty card stamped each time (and a "half-stamp" for $5 events). If they get 10 stamps within a financial year, they are granted membership and the rest of that year is free. (If they attend a concert and a singaround every month, they will achieve membership in

Extra curricula activities Gerard, Just a few thoughts I’ve had to add to all the debate. I think it’s great that the committee is having a look at this and know how hard it can be. It’s impossible to please everyone. Some random thoughts on the folk club I first found the folk club as a 16 year old and while I always loved the music I probably would not have stayed if it weren’t for the friends I made. In those days it was very easy to get to know people because there were many activities offered that were not totally about the music. Weekend tramps Continued on page 4 3

concerts (blind date, next generation etc), novelty sports, dressups, campfire, sing around etc. (Quiet words of encouragement can help them along). This would be obviously much smaller than the festival and therefore much easier for people to mix without all the little cliques. Advertise through Acoustic Routes but also approach any possible young people (from festival list) and encourage people to bring along friends. Focus especially on new younger people but don’t forget the needs of existing members. (I know from experience once you get out of the habit of regular attendance it is hard to get back into it even if your intentions are good.) This has been any on going problem for many years and maybe it can never be totally fixed. The Wellington I grew up in had very little on competing in any way with us. Now there is so much to choose from. Maybe we should be celebrating the fact that we are getting so many young ones along to our festival we’ve come a long way. Good luck Margaret Pullar

Letters to the Editor, continued from page 3 Fancy dress parties Novelty sports days Raft races Car rallies Weekend sports challenges with other folk clubs (tiddlywinks etc) Folk festivals Guitar lessons Country dance classes (with Joan P before Morris took over) All these activities had a strong social aspect as well has plenty of music in the evenings. Because I was looking forward to seeing my friends I often didn’t know who was playing at the club I went along knowing I would catch up with people and often some of the best music I heard was from guests I knew nothing about. How can we make it more welcoming for new people and make them want to come again? Start on time. If you’re new to a place and don’t know anyone, waiting for a concert to start while everyone is chatting can be very uncomfortable. Talk to new people - make them feel welcome. Provide ways that they can get to know other people (some of the above) What do I think might encourage more young people (and some of the older ones)? Look at a different night for some of the events (Friday or Saturday) - as a mother of 2 teenagers I am very reluctant to let them have a late night on a school night and I certainly find for me it sets the week off badly having a late night. Start earlier (this would also be good on Sundays). Many ‘young’ are on restricted licences and have to be home by 10pm, which makes it hardly worthwhile coming down. If they are into the ‘party scene’ they might come on the way and most ‘young’ parties don’t get underway until 11pm. They may even end up enjoying themselves so much they don’t move on. They may bring friends who are going on out with them. (As a ‘young one’ myself I remember there was often the problem of what to do while you were waiting for the late party to start.) Starting earlier catches people on their way home from work or before they settle into their evening and don’t bother getting out. Maybe start with bring along takeaways and start with tea (nice and cheap). Have a couple of camping weekends away at Brookfield, booking just a part of the area, (or somewhere close) with nothing organised except the venue. This makes it much cheaper and very easy to set up. Get the young ones to organise once they are there. Things like

Folk tribe Music is tribal – the Folk tribe demographic in New Zealand is aging – this is because it is not reproducing (let’s not be too literal here). Perhaps this is because the tradition is sterile. I have never felt I belonged in the New Zealand folk scene (and, I confess, have enjoyed not belonging). In the US there have long been people doing what I try to do (and so much better) – writing current acoustic songs, (Kate Wolf, Greg Brown etc) who are considered mainstream ‘folk’ – but in New Zealand we still seem to be wedded to ‘dear old Blighty’ – and a tradition which, incidentally, was pretty much instantly created in the 60’s (the nasal singing of the likes of Martin Carthy and the lovely bell-like voices of the likes of Maddy Prior and Sandy Denny). Prior to that ‘folk’, in as much as it existed at all, was performed in the music hall style. Looking to the past is a peculiarly modern phenomenon – not so long ago everything was grist to the mill of the now. But now we stop the clock and preserve the past as some polished artificial object. Blame commercialisation of music (yes, even folk), blame recordings which preserve the past, hell why not go further back and blame notation. ‘Tis sad, but a simple fool like me with a handful of chords and a longing to describe my world in simple words, does not fit the ‘folk’ label. My mother is Scots and I lived in Britain in the early 70’s, but somehow I failed to become a ‘folkie’. But hey, don’t lose the faith – relax the standards, welcome riff raff like me – and you’ll lose your tribal identity – and ‘folk’ will disappear under the noise floor of the cacophony of modern music. 4

Jon Sanders and Michael Black album that’s beautifully simple and simply beautiful….Michael’s voice shines through on every track’. For this concert Michael is accompanied by the inimitable Jon Sanders on bouzouki and guitar. Jon is based jointly in Dingle, Ireland, and Auckland so he needs little introduction to NZ audiences. Recognised as a leading exponent in drop D and DADGAD guitar playing, his style draws on the freedom within the contemporary acoustic music scene incorporating elements of jazz, funk, latino and gaelic styles, somewhat reminiscent of Sylvain Luc, Pierre Bensusan and Antonio Forcione, yet instantly different. Don’t miss this rare opportunity to see these two exponents of Irish and acoustic music together in concert.

Wellington Irish Society Rooms, Fifeshire Avenue, Wellington Thursday 10 April, 8pm Michael Black was brought up in the same musical tradition, and in fact, family, as his better-known sisters, Mary and Frances. After a lifetime of playing music and singing songs (his great love) in Ireland, England and his current home, California, Michael has rejuvenated his solo career. He has recently performed at venues around the US, Canada and Iceland. His solo album Michael Black, produced by John Doyle was voted “Album of the Year” by Celtic Connections (Radio show broadcast in 22 states). The Irish Times in its review of the album noted, ‘There’s enough pristine music tucked inside this solo collection ….to power a rocket’. Irish Music Magazine stated, ‘This is an

Phil Garland Southern Odyssey Tour Tui award-winner Phil Garland is one of New Zealand’s ‘true musical treasures’ and a ‘highly respected entertainer’ who has been performing publicly for fifty years. He has recorded many albums and picked up numerous awards locally and internationally during a long and illustrious career. Phil has released eighteen albums in all – winning Folk Album of the Year three times at the New Zealand Music Awards as well as being a short-listed finalist on another three occasions. During this time he also won radio and music awards in Australia and Japan, gaining further international respect as New Zealand's foremost and finest heritage balladeer and A National Living Treasure. He has performed extensively around the world promoting the Kiwi musical heritage with a blended presentation of songs, ballads, stories and yarns that introduce audiences to

the musical heart of New Zealand and its people. Phil’s entertaining performance prompted one American reviewer to say:- ‘his songs transport you to New Zealand so effectively, you may be inspired to take up residence there!’. You have two chances to see him in April: Thursday 24 April - the night before ANZAC Day, 7.30pm. $10 entry House concert at Cavan and Penelope Haines’ place: 303 Waitohu Valley Road, Otaki Contact Cavan Haines 06-3648991 or [email protected] for details. Wednesday 23 April, 8pm Entry: No charge but the hat will be passed around. Venue: The Lounge, Wine and Tappas Bar, 83 High Street, Carterton Contact: Kelby 06 379 9279 [email protected]

Wairarapa Folk Club

Pukerua Bay Folk Club 8pm, Thursday 3 April

Murray and Julie Kilpatrick's home 9 Donlin Rd, Pukerua Bay Ph 239 9951, Email: [email protected]

This month: The lovely singing of Diana Bastion and the beautiful and melodic playing of Julian Ward We will begin with a sing-around where everybody is invited to contribute to the evening's entertainment. This will be followed by tea/coffee, and Julie's famous scones, and then our guests will perform. Everybody very welcome. 5

Club Night (every 2nd Friday of the month) 8pm Friday 11 April Entry: Koha Venue: 251 Falloon Settlement Road, Masterton Contact Jenny or Remco, 06 370 1021 [email protected] Also meets at The Lounge, Wine and Tappas Bar, Carterton every 4th Wednesday of the month. April - Phil Garland - see above for details.

Spiral - acoustic with a twist

House concert Owen Hugh 8pm, Tues 22 April, $15

“ ” - an eclectic mix of songs for the heart - Althea and Warwick are something different. A vocal duo with a unique flavour and all acoustic instruments including guitars, bass, mandolin, and hand drums. Their music includes blues, jazz, folk and contemporary. Entertainment with style and passion. Two chances to see them coming up in May!

Scottish to the core, with a Welsh name, residing in New Zealand and possessing a permanent hunger for Indian curry, Owen Hugh frequently describes himself simply as ‘confused’. But no-one is confused about his delight and enthusiasm for music, and the response he gets from his audience. Known for his pure voice, gentle guitar accompaniments and sense of humour, Owen has been described in Hattie’s Live Music Guide as having a “silver voice” and delivering “sparse but effective guitar arrangements”. Owen’s new album “You and I” was a finalist in the at Levin 2007 TUI Folk Album of the Year awards. Folk Club, see

Ruth and Gerard’s place, 56 Park Road, Belmont Bookings to Ruth by phone 565 3432 or email: [email protected]

later notice on this page. House Concert at Ruth & Gerard’s, 56 Park Road, Belmont, phone 565 3432.

Levin Folk Club Horowhenua Scottish Society Hall Bartholomew Road, Levin. $5 entry/supper provided / 7:30pm. Open blackboard first half - one song each Guests on Friday April 11th: Don Franks & Jill Brasell Don and Jill have been playing music together for just about a quarter of a century. They've featured at countless weddings, RSAs, folk clubs, protests, picketlines, pubs and parties, playing (at different times and in various bands) piano, keyboard, guitar, bass guitar, banjo, double bass, mandolin, tea-chest bass, tenor horn, and tuba. On summer evenings you'll sometimes even hear them on their front porch deep in the Aro Valley, playing just for the hell of it. Don's instrumental specialty is the 5-string banjo, from which he draws an amazing variety of sounds and moods with a flatpick. But he's equally adept at the guitar and the piano, and is also well-known for his witty original songs of political comment. As a duo, Don and Jill favour old-time country numbers featuring banjo or guitar, double bass, and lots of harmony singing. But their other musical interests tend to get into the act too, so on April 11 you might also hear a bit of swing, Dixieland jazz or rock ‘n’ roll, and more than likely a couple of Don’s recent songs. It’s six years since Don and Jill last came up from Wellington to play at the Levin Folk Club, and they have an all new programme for us. Don’t miss it!

CEOL ALBA 2ND & 4TH Fridays, Chilton St James, Lower Hutt 7:30pm - 9:30ish, $3 Ph. Lynne Scott, 565 0164; [email protected] Ceol Alba is a club for Scottish music enthusiasts to get together to share and play Scottish music. Any instrument is welcome, except perhaps bagpipes, as they use a different scale and tuning. Although the main gates are on Waterloo Road, the back gate in Chilton Grove is the best.

Stop press: Mainly Acoustic - Mayfair cafe, Upper Hutt, 8 April - Wilson Murdoch farewell concert

Otaki Live Music Club Sunday 6 April, 7pm Senior Citizens Hall, Rangatira Street, Otaki $2 and supper All-genre Blackboard concert Contact: Cavan Haines 06 3648991, [email protected] 6

Thursdays at Eva’s 7-9pm, no cover charge, book for dinner on 388 8058

nell on upright double bass. Down home! April 17: Paddy Burgin & Justin Clark - Playing songs from their newly released album ‘My Sweet Town’. Acoustic flavored stories woven from their travels around NZ and the world. April 24th : Owen Hugh - Auckland based singer/songwriter, much missed in Wellington, plays and writes songs people love. Playing tunes off his new album ‘You and I’ & more…

April 3: An evening with Wayne Mason - The writer of ‘Nature’ returns to perform songs from his new album ‘Sense Got Out’. “Mason’s lyrics trace so clearly the geography of the heartland as well as the heart” (The Listener) April 10: Hudson - Acoustic blues, with slide flatpick guitar from Lawrence Cooper and Andrew Bick-

Southern Hemisphere International School of Scottish Fiddle "A fantastic week of fun and fiddling" - Lynne Scott Applications are now open for the 5th annual Southern Hemisphere International School of Scottish Fiddle, 20th - 27th April at Kaitoke, Upper Hutt. Concert in Upper Hutt on Saturday 26th April. You can download your application form and get all the latest information at www.shissf.com Our fiddle instructors are Catherine Fraser, Australia; Gregor Borland from Scotland via Spain; and Laura Risk, Canada, who we are delighted to have

back for the second year. Accompaniment classes will be taken by pianist Duncan Smith, and are suitable for all accompanying instruments (keyboard, cello, guitar, harp etc) Please don't hesitate to contact us with any enquiries, and feel free to forward this on to anyone you think may be interested. Kind regards, SHISSF Team: www.shissf.com PS - You don't have to be a virtuoso fiddler, there are classes at different levels. Ask!!

2008 Ceol Aneas Festival, Queen’s Birthday A festival of Irish music including: concerts, tuition, workshops and music sessions. Location: Nelson, New Zealand Dates: 31st May - 2nd June 2008 Ceol Aneas (Ke-ol an-ass) is New Zealand's Irish music festival, based in Nelson, New Zealand. This is the ninth annual event and to celebrate we are moving to a more open festival model that has more involvement from the general public. We have a great line up of tutors for the instrumental classes this year including Muireann Nic Aomliabh (Ireland) from the great Irish band Danu and Adrian Barker, Kate Burke and Beth McCraken from Australia. The sessions are

seeded and there are a nice range of venues in which musicians can play late into the night. Another new element this year is the class for instrumental musicians from other genres (e.g. classical and jazz) who want to learn more about playing Irish music. This will be run concurrently with all the other instrumental classes and offers an excellent opportunity for people to learn about ornamentation, technique and different playing styles and is open to any flute or violin player of grade 5 classical standard or equivalent playing ability. For more information and registration see http://ceolaneas.org/

Wellyfest 2008 Preview Well, the hard decisions have been made and the committee is pleased to announce the major guests for the festival will be Tim Van Eyken (ENG) (pictured right), Jugularity (AUS), Forbidden Joe (AKL), The Mt Misery Band (WLG), Pat Higgins (WLG), Auvo (FIN/SWE/ENG). Jugularity are also bringing an Aussie flavour to the Saturday night ceildih. Much more of course: the dance stream, the workshops, the blackboards, Tracey's Invitation Mic, Homebrew. Only 7 months to go....... Dave and the committee.

ON THE

AIR

Access Radio (783 AM) Celtic Connections: Saturdays 9am Ireland Calling: Wednesdays 10pm Capital Irish: Sundays 12 mid-day Town & Country Radio: Mondays 9 pm Radio Active (89 FM) Global Pulse: Sundays 8 – 11am 7

Americana: Sundays 2 – 4pm RadioNZ National (567 AM / 101.3 FM) Music 101: Saturdays 2pm Beale Street Caravan (Blues): Mondays 11pm

April events Thursday 3 April Pukerua Bay Folk Club Blues @ The Bristol Friday 4 April Bluegrass Society Blackboard Tuesday 8 April Mainly Acoustic - Wilson Murdoch Thursday 10 April Michael Black & Jon Sanders concert Blues @ The Bristol Friday 11 April Wairarapa Folk Club Levin Folk Club Ceol Alba Sunday 13 April Singaround, Toi Poneke Tuesday 15 April Kapiti Live Music Club Thursday 17 April Blues @ The Bristol Friday 18 April Bluegrass Society Concert Sunday 20 April Club Jam session Tuesday 22 April Owen Hugh House Concert Thursday 24 April Blues @ The Bristol Friday 25 April Levin Folk Club Workshop Ceol Alba Sunday 27 April Acoustic Routes concert

Folk Clubs & Contacts Acoustic Routes Concert 4th Sunday of month, Wellington Arts Centre, Abel Smith Street, 8pm (except April when it is Easter Sunday). Informal singaround 2nd Sunday, Jam session 3rd Sunday, and Blackboard concert 5th Sunday, same time & place. See page 2 for details and contacts. The Singers’ Club Last Tuesday of month, on hold until further notice. Venue tba. Guest performers and Singers’ Club residents. Contact: Tony Hillyard (021) 253 8996 email: [email protected] Mainly Acoustic Music Club 2nd Tuesday of month, 7.30, Mayfair Cafe, 166 Main Street, Upper Hutt. Contact: Kevin or Sue Meehan, 970 4068 Pukerua Bay Folk Club 1st Thursday of the month, 8pm, 9 Donlin Rd, Pukerua Bay. Contact: Murray or Julie Kilpatrick, 239 9951; email: [email protected] Wellington Bluegrass Society 3rd Friday of month, 8.30 pm, Petone Function Room, 54 Richmond Street, Petone. Blackboard concert 1st Friday of month. Contact: Andrew Bicknell, 477 0069 Kapiti Live Music Club 3rd Tuesday of month, blackboard 7.30, guest 8.30. Murphy’s Law, Main Road, Waikanae. Website www.klmc.org.nz Levin Folk Club 2nd Friday of month, Horowhenua Scottish Society and Pipe Band hall, corner Bartholomew Rd and Middlesex Street. Blackboard concert plus guest artist: $5 including supper. Workshop 4th Friday of month (no charge). Contact: Anne Campbell (06) 368-3777 Wairarapa Folk Club 2nd Friday of the month; Contact Remco de Ket or Jenny Freemantle, (06) 370 1021 - [email protected] Ceol Alba – Scottish Music Club 2nd and 4th Friday s of the month. Phone Lynne Scott, 565 0164: [email protected] International Folk Dancing Wednesdays 7.45-9.15pm, Deirdre Tarrant Dance Studio, 125 Cuba Mall. Contact: Cashy Yates 569 1618.

Morris Dancing Pride of Holland Street (men and women): Tuesdays at Aro Valley Community Centre; Contact: Peter Denee, 499 2880. Lesser priority issues identified for Britannic Bedlam Morris Gentlemen: Wednesdays 8pm, Tawa Pipe investigation (in no particular order) Band Hall, by Redwood Station. Contact: Ian Appleton 476-4391. were: White Rose of Wellington (women): Wednesdays 8pm, Brooklyn 1 Establish whether there’s a demand to change Scout Hall, Harrison St, Brooklyn. Contact: Debs Potter, 476-9294 the default 8:00 pm starting time to 7:30 pm. Morris website: http://morrisdancing.org.nz 2 Arrange musical (and, possibly, non musical) events, in combination with other acoustic clubs. Murray agreed to establish whether there is interest from other clubs. 3 Arrange specialist small-group events. 4 Arrange occasional non-musical social events. 5 Make changes to the Balladeer. For example: encourage articles that help members identify with the Club (for example, articles about the Club’s old days and characters, reviews of musical events/movies). 6 Provide tables at events – trying to break down the sterile and formal seating arrangements and provide a more social environment. Gerard agreed to investigate the cost of

Sub-committee report cont’d

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