Hugh Nankivell – BSO Participate Associate
I recently finished a BSO Associates project in Torbay. For this project I travelled to all my sessions and planning meetings by bike. I didn’t have to take many instruments or much equipment (at most a melodica, a laptop, a shaky egg, a notebook and some lunch) and the school I was working in was nearby. It felt very good being able to cycle to the sessions. I was energising myself and being a rare role model for musicians on bikes.
I remember when I was working with Opera North in Yorkshire there was a member of the orchestra who travelled to most concerts and workshops by bike, with his viola on his back. He was unusual, but I have often thought of him in the years since.
I felt a sense of relief at not having to take a whole load of equipment. When I am working in care homes or with early years I usually need to take in a keyboard, an accordion, a guitar, a box of percussion, some ukuleles, a white-board, my laptop, pens, roll of paper etc etc… This means that even if the session is nearby I cannot travel by foot or bike, but must go by private motorised transport. I accept that at times this is (probably) inevitable.
I recently had a meeting with Ben Twist who works for Creative Carbon Scotland, he was telling me about the changes in thinking he is encouraging with arts organisations in Scotland to do with their carbon footprints. Some organisations are better at coping with (and even anticipating change) and others much less good. How does an organisation that has a massive infrastructure (a symphony orchestra, a ballet or opera company) actually think about reducing its carbon use when it is wedded to a model that is massively consumptive of fossil fuels and is based on a repertoire and practise that is based on a model of practise from previous centuries?
With the BSO we are starting to think about new models and the Associate Scheme is one such. The six of us are spread out across the region and not based at a central depot (Bournemouth/Poole) and so the BSO can now access the communities of the SW more effectively even though we still may need to travel distances, usually by private transport. The recent ABO conference hosted by the BSO entitled ‘Disruption’ was a real provocation towards exploring what the Symphony orchestra can be in the future (where there are women conductors, more BME and disabled performers) and another part of this should could be, how do we plan for a constantly changing world.
The BSO is also starting to look at these issues with the SW virtual orchestra, and the recent appointment of James Rose as new ‘Change Maker’. So this is the start of a journey to a truly inclusive orchestra to which we travel as participants and audience by bike or public transport or visit virtually, where the music we play is affected by the world we live in and is able to change and reflect this.