Imagine a vibrant community, full of life and music, suddenly silenced. That's the stark reality facing numerous community bands across New South Wales, as a crucial funding lifeline has been unexpectedly cut. For decades, these bands have served as cultural cornerstones, bringing joy and connection to countless people. But now, many are struggling to stay afloat. Let's delve into what's happening and why it matters.
For 90 years, the City of Wollongong Brass and Wind Band has stood as a beacon of musical accessibility, intentionally keeping membership fees low to welcome everyone. But the band's future is now uncertain, as vital government funding is in jeopardy. Band president Neil Wright emphasizes their inclusive spirit: "We want to include everybody as much as possible." He acknowledges that some might view community bands as a "niche" activity, "but there's a lot of people who do this."
This volunteer-run group is just one of over 100 community and school bands across NSW, all represented by the Bands Association of NSW (BANSW). For years, BANSW has acted as a vital conduit, receiving funding from the state government's arts and culture grant schemes and distributing it to local bands. This money helps cover a wide range of essential expenses, from venue hire and advertising to organizing concerts, purchasing sheet music, and repairing well-loved (and often well-worn!) instruments.
BANSW president Jeff Markham explains that while the funding amount "waxed and waned" over time, they consistently secured around $55,000 annually for the past decade. "We've had certainty of funding which has allowed us to plan," he states. This stability enabled them to support bands in meaningful ways. In Wollongong, for example, Mr. Wright says the funding has been instrumental in supporting music camps, workshops, and even social media advertising – crucial for reaching new audiences. "Most of our grants have been towards fostering our young and upcoming players," he adds, highlighting the importance of investing in the next generation of musicians. "It's good getting particularly the young ones into the organisation, but you've got to find ways of wanting them to actually remain as part of the organisation." This includes making the experience fun, engaging, and accessible.
But here's where it gets controversial... The state government recently shifted to a competitive funding model, opening the door for more organizations to apply for multi-year funding (over two or four years). While this sounds like a positive step towards broader support for the arts, it also means that long-standing recipients are no longer guaranteed funding. In the latest round, over 140 organizations were successful, but BANSW's application was, surprisingly, rejected.
A spokesperson for Create NSW, the government body responsible for arts funding, stated that the funding rounds were "highly competitive." They emphasized that the Arts and Cultural Funding Program operates through an "open, competitive, independently assessed process" and that "funding is not ongoing or guaranteed." Create NSW also claimed to have held multiple meetings with BANSW to provide "feedback and support" before and after the application was submitted. But the question remains: was this feedback sufficient to address the systemic challenges faced by community music organizations?
Mr. Markham argues that BANSW's potential inability to fund local bands will have a "significant" impact, particularly on groups with younger players. "The youth program is a lot of work, it's a lot of expense, and it's a lot of energy," he explains. Recruiting and retaining young musicians requires dedicated resources, and without funding, these programs may be at risk. Mr. Wright echoes this sentiment, noting that if they had received funding this year, they would have used it on promotional materials like banners and signs. "Currently, we just do without, and hope people might come up close enough and ask questions," he says. "They're just little things… [but] if we're able to get a grant, we don't have to think about where we are going to take that money from." He also points out that the loss of funding could force them to raise membership fees, potentially pricing out some individuals. "Something we've been fairly proud of is keeping our membership fees down."
Without grant funding, Mr. Markham fears that bands may be forced to reassess their budgets and potentially cut back on events and programs. "Most of the stuff a band does in the community, they don't get paid for it," he says. "Without that little bit of funding, all of the money has to come from the band itself, which means there's no upfront commitment to do these things." And this is the part most people miss: community bands often operate on a shoestring budget, relying heavily on the dedication and generosity of their members. The alternative, Mr. Markham explains, is to ask members to dig deeper into their own pockets. "They're all out fundraising, but all those fundraising efforts are all to just keep the doors open," he says. "Everything else extra to that is basically on the members." The financial burden on individuals can be substantial, potentially leading to burnout and attrition.
Garry Clark, musical director of The Hills Music Academy in Sydney's north-west, which comprises youth and senior bands with around 100 members, acknowledges that while his academy has received grant funding in the past, their larger size and established partnerships mean they are better positioned to weather the storm than smaller, regional bands. "Smaller groups, less active groups, they would really struggle," he says. "A lot of the regional groups would maybe not even be able to function, because numbers are not as high." Mr. Wright fears this may be the case for his musicians in Wollongong. "We'll [still] put on events, it just means however that we can't subsidise these events… there might be some players who might not be able to attend."
Ultimately, Mr. Clark argues, the entire community suffers when bands struggle to survive. "Seeing a band out in public performing, marching down the street, playing Christmas carols in a shopping centre, all those little things that bring the community together." These performances create a sense of shared identity and belonging, enriching the lives of residents. Mr. Markham emphasizes that the importance of community bands is often underestimated. "Your community band is quite often the first place that somebody will be introduced to live music," he says. "We play in nursing homes, we play at funerals… and quite often for many people, the community band is the last live music that they see as well." They provide comfort, solace, and joy, particularly to those who may be isolated or vulnerable.
This raises a crucial question: is the current funding model truly serving the best interests of community arts organizations? While competition can drive innovation, does it also risk undermining the stability and sustainability of vital cultural institutions? And what responsibility does the government have to ensure that all communities, regardless of their size or location, have access to the enriching power of live music? Is it possible that the emphasis on competition inadvertently disadvantages smaller, regional groups that rely more heavily on grant funding? What are your thoughts? Should arts funding prioritize established organizations with a proven track record, or should it focus on fostering new and emerging talent, even if it means taking risks? Share your opinions in the comments below!
