Background: ‘O Banad i Brofiad’ was designed to give three
community groups in Holyhead, north Wales, the
opportunity to co-create and co-produce with artistic
practitioners in an organic way over the course of eight
months. It aimed to be meaningful to musicians whilst
relevant to the needs of the communities involved.
Aim: The aim of this evaluation was to explore the
experiences of participants and practitioners involved in
‘O Banad i Brofiad’, recognise perceived benefits and
limitations, and identify ways to improve and develop the
approach to the future.
Method: A qualitative approach was adopted for the
evaluation. Semi-structured interviews and focus-groups
were conducted with a cross-section of participants, and
data were interpreted using thematic analysis.
Results: The themes that emerged from the interviews and
focus groups included the personal impact of the
programme (comprising of creative expression, sense of
achievement, growth and development, confidence, and
positive emotions). Participants also discussed the
impact of the programme in relation to the interpersonal
relationships within their communities, their connections
within the local area, and their relationships with music.
Suggestions for improvements were also made for future
programmes.
Conclusion: The themes highlight the complex ecosystem
of relationships that was brought to life during ‘O Banad
i Brofiad’. This ecological approach to community musicmaking has enabled Ensemble Cymru to reach new
groups of people who have limited access to the arts,
provide them with a new appreciation to live music and
classical music, and in many cases, enhance key
indicators of wellbeing. This is especially meaningful at
a time when community groups are still living with the
consequences of the isolation experienced during the
Covid-19 lockdowns.
The results demonstrate the important role that
collaborative use of live music and dance can play in
encouraging and developing young people’s confidence.
This potential should be explored further in collaboration
with key stakeholders in the education sector.
The possibility of taking a similar approach to community
music-making into other communities should be
explored. When developing similar approaches in future,
allowing time to build meaningful relationships with
stakeholders and participants should be an important
consideration. An opt-out option should also be
considered for those not wanting to participate in music
activities, and general boundaries should be set relating
to the regularity of sessions and what will and will not be
required of participants.