The Urban Vocal Group
Email address:
Website:
info@theuvg.co.uk
www.theuvg.co.uk
1. Description of young people involved
The UVG engages approximately 30 young people aged 11 to 19
who attend the weekly evening sessions at a local community hall. The group is
made up of young people, male and female, from all areas in the borough of Havant
and have recently attracted participants from areas outside including Portsmouth and
Paulsgrove. Our participants come from varied backgrounds within the community
some of whom have an unstable domestic situation whilst others are better
supported. When a young person initially accesses the group they tend to be shy
towards their peers and reticent to join in however this barrier is broken down very
quickly and they soon feel part of a unique singing community.
2. Local picture: (Source Havant Borough Council 2009)
Havant is one of the most deprived local authority districts in Hampshire, ranked
142nd out of 354 districts, with 1 of the most deprived wards and it is forecast that
the lack of local job opportunities due to the recession is likely to exacerbate the
problems encountered by NEET groups.
Havant has below average figures for NVQ 2,3 4 and this low skills base is a major
contributory factor to unemployment & low pay. The % of the work force with no
qualifications has fallen to 9.6% which is well below the national average.
There is significant deprivation in the area and this translates into increased health
need and reduced life expectancy. The borough also has a higher than national
average teenage pregnancy rate which links to child poverty for the Leigh Park area
being within the bottom 20% in the UK.
There is a wide variation in levels of unemployment across wards, ranging from 2.1%
to 7.3%. It could be argued that such a difference suggests a slightly fractured
community where opportunities are defined by a person’s post code. It is therefore
important that borough as a whole encourages greater community cohesion by
offering activities that bring the various social groups together.
3. Description of organisation:
The UVG is a voluntary community organisation with a varied public funding base
from local and national sources. The UVG committee is ran by Charlie Fletcher and
made up of local Arts and Community Professionals with knowledge of:
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The issues which affect young people.
Local and national context of arts in the public and private sector.
Training and volunteering.
Safeguarding young and vulnerable people.
Young people and health and social welfare.
The local network and partnership support
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The Urban Vocal Group
4. Description of project and context:
The Urban Vocal Group (UVG) is an open access music project based in the
borough of Havant for young people aged 11 to 18. The group meets weekly in a
safe, friendly environment for 2 hours of singing, socialising and learning.
Participants have the opportunity to rehearse and perform contemporary
arrangements whilst also receiving one to one tuition on vocal technique. Members
also volunteer as peer mentors and can gain accreditation for their involvement via
the Arts Award scheme.
Our defined aims are:
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Increase the life chances of young people.
Offer achievable learning opportunities outside curriculum time at no cost.
Provide a platform for young people to share their achievements and express
themselves positively within their community.
We do this by:
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Encouraging and developing vocal and performance skills.
Breaking down social barriers between different groups of young people and
initiating a sense of belonging.
Giving young people a sense of achievement and pride in their abilities.
Enabling young people to participate in positive risk taking activities.
Promoting essential life skills such as teamwork, time management and
communication.
The group offers a local opportunity for young people to access professional vocal
support and feel part of a unique singing community. This also nurtures a sense of
place so that they take pride in their borough as a whole and see themselves as
equals in cultural activities.
The project was inspired after attending an inter schools music performance at a
local theatre. It occurred to me that with such a breadth of talent across the local
schools there was an opportunity to bring these young people together offering
additional training outside of school hours. There can be a general lack of
collaboration between local schools, colleges and university’s which can isolate
young people who don’t live near their place of learning. I saw untapped chances for
young people to broaden their social experience and identified a gap in local
provision for those who wish to develop their vocal skills but are not in a position to
pay for tuition or travel to non local venues.
Traditionally vocal groups/choirs are led in the professional model of teaching, with
an emphasis on performance and product; this model is intimidating to many who do
not consider themselves ‘musical’. The UVG was setup to work within a community
model of teaching where the process takes precedence and which the young people
are responsible for their own pace of learning.
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5.
Testimonies
As leaders and practitioners we can only hope to ignite the same passion as we feel
for our art form in others. However the best evidence of our success in transforming
their lives is that which comes from the young people themselves.
“…the UVG has helped me with my confidences. I wouldn’t be anywhere
without Sally (Tutor), her solo sessions have really helped me. If I have had a bad
day at school, going to singing really cheers me up and puts me in a good mood. I
was over the moon when I was asked to perform at the House of Commons I
couldn’t wait to tell my mum and dad.”
Charlotte 14
“UVG is a great opportunity to not only have fun singing but socialising too! I have
made many new friends...It has also boosted my confidence a huge amount
and many of the others will agree that they are more confident performing and
singing in front of others. It has brought a wide range of young people together and
we sound amazing together!”
Jenni 15
“Since joining the UVG I have seen a huge improvement in my confidence. Singing
with my new and close friends is something I look forward to and I love the way that
we rehearse and have a laugh at the same (yet still get a lot of work done). I also
love the performances that we do. Standing there on stage next to people that share
the same passion for music as me is just the best feeling ever!!”
Laura 14
“…feel this group has giving me experience in the skills I need to achieve this i.e.
confidence, team work and learning new skills.”
Lara 17
“I’ve learned so much about how to use your voice properly, and get the best out of
it. My confidence has gone crazy as well so I don’t have panic attack anymore. I’ve
started to listen to things and put my own harmonies into it without realising and I’ve
made so many friends.”
Jazz 16
“When I first went to the UVG group I was a bit nervous and I wasn't confident what
so ever, I was really quiet and shy. However now I am more used to the group I have
made a few friends… I have become a lot louder and hell of a lot more confident. I
feel that the UVG group has helped me in more than just singing but getting my
confidence up and meeting new people.”
Jovi 15
“Being a member of The UVG has helped me stay off the streets and out of trouble…
and it’s made me a better person within myself as an individual.”
Lois 15
“The UVG sessions have helped me incredibly with my confidence to talk in public,
it’s made me realise that I can actually pass on my knowledge, and has reaffirmed
my passion for working with young people.”
Sally (Original Volunteer / current Vocal Tutor)
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Testimony from group member’s parent
“Being part of the UVG has helped my daughter to:
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Appreciate other people’s strengths and weaknesses
Enabled her to expand her social skill sets by having to work with people (who
have a common interest) with whom she would not necessarily have chosen
as friends. This has helped her to communicate better and demonstrate
patience with people who are different to her. This is different to school or
college which is a forced situation – here she has a choice.
To share and be collaborative – no doubt the whole group want to be soloists
but they have to appreciate that the person next to them has a better vocal
and is a better fit for that song or that Gig. These processes help them to selfcritique and accept their improvers.
Demonstrate enthusiasm and commitment for something that she is
passionate about even though it is not always convenient – this has also
helped her to identify her priorities.
Feel the benefits of being part of something successful but is only successful
because the whole part is made up of the sub parts which is the focus and
dedication shown by the individuals of which she is one.
Respond to and give feedback.
Each of the above are serious life skills which she will need when she goes out into
the working world and we are grateful that she has had the opportunity to be part of
this and enhancing her skill sets as she has because she has chosen to and not
because she has to. This has been difficult from time to time because of location or
timing but she has demonstrated a maturity in ensuring that she has met her
demands because she made a commitment to do so.”
Case Study written by group member – January 2011
Why did you get involved with the UVG?
I came across UVG when I was involved in a gig at the kings Theatre with my
previous school, I saw UVG take to the stage and I was amazed never heard such a
group of various aged young people sing so well with such confidence, instantly I
thought I’d love be like them on stage as a 4 part harmony vocal group, so that’s
when my love for UVG begun. I didn’t have much confidence at all with my stage
presence when I would sing so I thought straight away they wouldn’t want me, but
surprisingly Charlie approved! I got involved with UVG because I wanted to learn
various techniques with my singing and improve my range, also to boost my
confidence and stage presence and that’s what UVG was all about.
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What are the positive and negative outcomes of your involvement with UVG?
During my time with UVG I can honestly say I cannot find a negative thing to say
about UVG, Everything is just so positive within the group from the performances to
the rehearsals, everyone is just so happy! Even if the weather is rain or shine UVG
are still willing to put 100% into everything we do as a group, and we aim for the best
in everything. Going back to when I first started I remember stepping into the room
where UVG took place every Monday night and I was so nervous , all that was
running through my head was what if they don’t like me what if I’m not good enough,
but as soon as I walked through the door I felt like I was almost part of a big family
with them, the atmosphere was just so calm and friendly and that is the biggest
positive note I have had for UVG right from the start that every member is polite and
welcoming which is good for any new comer to come into.
What were you doing before this project, what are you doing now and what are
your aspirations and plans for the future?
Before UVG I was a shy young girl who had huge passion and love for singing but
yet tiny self-belief within my talent, I really wanted to go places and gig and do things
with my singing but I just didn’t have the confidence to want to do anything, I did
small gigs with the school but where I had no training or past experience I was a
nervous wreck when it came to holding a microphone letting alone going up on a
huge stage!. Then along came UVG and within months this all changed! I thought to
myself wow miracles do happen!, within months of training , one on one singing
lessons and voice techniques, gig preparation and being taught how to use the
microphone within your range I was up on the stages gigging in no time!, I felt like a
completely different performer. To this day now I am getting more and bigger gigs,
currently entering competitions with UVG, and having the ability as one of the older
artists to actually help the younger performers. In the future as every performers
dream would be to make it big so I will keep at my dream and use all the help UVG
provide and just wait and see what happens.
Has taking part in this project impacted on your perception of life?
As a performer this project has most certainly changed my perception of life in the
music world, because I was shy and wouldn’t even talk to people let alone want to
sing, so this project has made me found my inner self as a singer, it has given me
the confidence to want to get up on stage and show people what I have to ability to
do.
What were the main challenges for you and how where they overcome?
When I first begun UVG I had confidence issues , but more than one, not only was I
nervous to sing to big crowds but also I was terrified to communicate with the
audience for example when I gig I have to introduce myself, along with my songs ,
and also interact with the crowd but I feel this makes me more scared than singing
its self and to this day myself and UVG are still working on ways to help me
overcome this fear of talking and interacting, and each gig I do I get more and more
capable of doing so.
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Would you encourage other young people to get involved in youth arts
projects such as this?
I most certainly would, also when I have the opportunities after gigs I always try and
talk to as many young people and also young people’s parents to tell them all about
UVG and tell them how its changed me as a young performer and try to tell them as
much about the project as I can. Charlie also has started a UVG website to help
promote the group more and get more young people involved, I try to get involved
with as many gigs, performances as possible just to help promote the UVG as much
as I can, I can honestly say I’m 100% devoted to the UVG.
Other info
If UVG was to stop running then I wouldn’t have all these gigs I get today, do the
express FM radio shows, be a confident performer or be part of UVG its self, UVG
has honestly changed my life and I wouldn’t leave it for the world, not only do we
take our professionalism seriously but along with that we all have such a laugh as a
group.
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Art form/s used during this project
Primarily the UVG is based on music, specifically singing. However Young people
also engage or experience a variety of other art forms within the UVG programme:
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Music Technology YP participate in studio recording sessions
Film Making- Participating as subjects in documentary style film making
Stage craft and performance
7.
Aspiration & Attainment
As deliverers we hope to provide inspiration to our participants to become part of a
creative community. To build aspiration is the work of the young person themselves,
and our job as deliverers is to provide the space, time and individual attention to
each one. Once provision is in place, we work to facilitate recognition of what
aspiration is which isn’t necessarily learned at home or in an educational context.
By providing young people with good role models, success stories, and tangible
outcomes (recordings, experiences, accreditation) they develop a sense of pride in
what they do and in themselves, sometimes for the first time.
Over time the young people we work with develop a commitment to their own
personal goals and aspirations for the future and this is when they start to achieve.
Our model of teaching through formative and reflective learning, combined with a
delivery style which is appealing to many, enables young people to build that link
between aspiration and attainment whilst also having fun.
To support their transition, members are given support and advice on accessing
higher education and training whilst our volunteering and mentoring programme
works to identify and meet individual progression routes into leadership roles.
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Mentees have gone on to achieve HE qualifications in teaching and music and have
become board members for local youth music charities. Other members have taken
up FE performing arts courses at local colleges as a direct result of their involvement
with the group.
Group members also create personal targets and goals which link to UVG activities
giving access to new skills.
To date we have created two paid opportunities within the project for two of our
members.
We currently deliver Arts awards training which can contribute to UCAS points.
8.
Monitoring
The UVG statistics are entered into a database where we can quickly provide
bespoke reports detailing age, gender, and new participants, monthly, weekly and
yearly attendance. We also use this to analyse trends and record outcomes allowing
us to monitor and evaluate our impact and make strategic decisions to ensure a
valuable and efficient use of resources.
Participants’ individual progress is recorded, monitored and reviewed by the tutor on
a regular basis during 1-2-1 sessions. The intimacy of these sessions enables
participants to build a rapport with the tutor and help us to gather qualitative
outcomes about how UVG is increasing the life chances of young people. The
process is open and consented and the young people are provided with personal
goal sheets to record and acknowledge their own progress and focus on specific
learning goals.
Qualitative evidence is gathered by a variety of methods including written
testimonies from participants and parents; we also make use of on line survey tools.
The group have also created several recordings and promo videos which are
available on social networking sites such as Facebook and YouTube.
Our various public performances bring verbal feedback which is shared with group
members.
9.
Recruitment
Initially I contacted the heads of music at local schools asking them to recommend
the project to any of their students who had a particular talent for singing. The
response was excellent and this enabled us to create a core group who could very
quickly be at a performance standard which in turn helped promote the group.
The UVG have used traditional promotional material such as flyers and posters in
addition to local newspapers and radio. However we found very quickly that young
people are more inclined to use social networking sites to access information and
have adopted ‘YouTube’ ‘Facebook’ as well as designing our own website to enable
us to share and communicate. We link our website to other children services and
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The Urban Vocal Group
local authority sites and to date word of mouth/social networking has continued to be
our strongest forms of recruitment.
Recruitment is an on-going activity as many of the young people we work with are at
transient stages in their lives and commitment is difficult. However we have a good
average engagement in the project of 15 months, which is long enough to make a
real difference.
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Maintaining engagement
The UVG sessions are held in a safe, friendly environment that young people want to
attend; tutors and staff all have training or a qualification in Youth Work which
integrates into their delivery methods and raises awareness of where a participant is
at with their engagement in the project. Young people are supported by tutors and
their peers and genuinely love the sense of belonging that comes from being a part
of something they consider special.
We ask young people what they want and we respond to their feedback to keep our
programme accessible to everyone and to promote a sense of ownership over the
achievements individually and as a group.
We reward achievement, last year we took the group on a summer trip toThorpe
Park. We also like to give the group a well-rounded experience and invite other
industry professionals to run workshops on specific topics. As an example we
recently worked with singer/songwriter Russell Stone on a charity single. Group
members had the opportunity to participate in the recording process and gained an
understanding of the time and effort required to produce a quality piece of work.
We offer an accumulative range of levels at which a young person can engage with
the group, which promotes choice and ensures that everyone works to their own
level.
1) Singer in group.
100% engagement at this level.
2) Singer who chooses to have a 20 minute 1-2-1 personal development
sessions within session times.
60% engagement.
3) Volunteer mentor- helps others and leads sections
10% engagement
4) Singer and Arts Award participant. Bronze accredited learning.
15% engagement
5) Volunteer Trainee Leader
2% engage at this level
6) Leadership - 2 people have come through to this level.
11.
Challenges
Finding the right Tutors.
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The Urban Vocal Group
The UVG tutors are the key to unlocking the potential in the participants and
experience has shown me that often a project can fall flat without key personnel in
place. Finding someone who is an experienced singer, accompanist and technically
excellent is one thing, but in order to inspire and excite young people, I needed
more. I was also looking for an industry professional that had a background which
appealed to our participants, some tangible evidence of high profile performances
(TV or stage), and most importantly, someone who had a firm understanding and
experience of working with young people.
Marketing
Staying in touch with how young people access information, which is continually
developing due to current fads and updated technology.
Encouraging Male membership
The group have historically found it difficult to recruit young men.
Lack of funding for the management of the organisation
There can be reluctance for funders to provide costs for the project management of
projects such as The UVG. I believe that this attitude can undermine the skills and
expertise of managers, devalue the work that arts professionals do and act as a
disincentive to professionals considering a move to the third sector. Within the
private sector the role of project manager is considered essential to the running of an
organisation and is remunerated accordingly. If we are to encourage the same
professionalism within our own sector funders need to acknowledge financially the
valuable role that project management plays.
Finding funding in the current economical climate.
This is an ongoing concern, as although we are still delivering a free service, there is
pressure for us to generate a private income. I strongly believe that The UVG needs
to continue to be free as it this encourages young people to make their own choice
on whether to attend or not. Free from parental or financial pressure.
Funding applications take time to complete with no guarantee of success it can be
difficult to find the resource.
3 out of the 5 funders who have supported us continuously have lost their funding.
Many funders will not fund an organisation twice for existing provision.
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12.
Overcoming Challenges
Finding the right Lead Tutor.
The delivery strategy for the UVG is based on an informal yet structured learning
environment. I initally approached Amba Tremain a peripatetic vocal teacher who
had already built a relationship with local schools and was in a position to promote
the UVG to her existing students. Amba also had a track record as a recording artist
and performer with many high profile events behind her. This experience combined
with her musical skills and an ability to engage large groups of young people made
her the ideal candidate for the UVG.
Marketing
Based on feedback from young people we provide info and website links to members
in the group, who pass info to others through social networking sites.
We maintain links with all the schools music departments in the area.
We ran a summer school for 10/11 year olds; this aids recruitment from the younger
age end.
Encouraging Male membership
This could possibly be due to a perception amongst young men that choirs are for
older men, church goers or females. However we do have success in keeping those
young men who do attend the group and our issue is about getting that first visit to
the project. One of our greatest tools in achieving this is advocacy through word of
mouth and local performances. We have also worked with local urban musicians on
collaborative projects and hope that this will encourage young men to access the
project. However we do understand that attracting males is a major challenge for the
group and will continue to investigate other strategies.
Lack of funding for the management of the organisation
Board members have contributed time and effort free of charge to help with some
elements of management.
The Tutors role has expanded to include some management tasks.
Participants fully understand that their group is run with public money and happily
contribute feedback which helps us with evaluation and applications.
Finding funding in the current economical climate.
Committee members have contributed time and effort free of charge to help with
funding applications.
We remain visual in our community through performances and always invite key
members of the council, funders, and parents to our events.
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We generate a small income from gigs played in the community e.g. turning on the
Christmas lights or selling merchandise.
We work at maintaining a high profile by working with professional artists when we
can.
Whilst I appreciate the need to encourage diversity and development there is an
argument for funding existing provision if a project is successfully engaging its target
audience, increasing membership and achieving tangible outcomes
13.
What have we learnt?
Is important to determine if there is a need before setting up a project This can be
determined by communicating and consulting with a broad range of the community
from residents to local authority officials. It is also important to establish whether
there is any duplication of provision as many a great idea has already been thought
of! If there is duplication then what makes your project unique and would it be
possible to work in partnership with the current providers by offering something new?
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Market your project to as wide an audience as possible .
Be bold and think big - a slot on a regional radio station at the right time will
do the job of 1000 flyers.
It is crucial that you maintain good communication as young people have lots
of other things to do.
Setting up events, group e-mails, let them know when, where, how.
Where appropriate get the parents on board. Keep them informed on the
groups’ progress and activities.
Ensure that you have formalised procedures to deal with safeguarding the
young people’s welfare.
Young artists are usually hiding in their bedrooms and need to feel just as
safe and secure in their learning environment.
Monitoring and Evaluation
1-2-1 and group consultation during sessions.
Feedback and comments through UVG Facebook site.
Participation via online surveys.
Participants attend voluntarily and vote with their feet, if we have good
attendance we are meeting their needs.
We are linked to the Arts Awards scheme which in turn links to National
standards.
Our database stats are analysed regularly to determine trends in attendance,
age, gender etc. Based on this information we know what works and what
doesn’t.
Board members and funders visit the project sessions and offer feedback.
We stay in touch with members who have finished their time with UVG
through our social network to track the impact UVG has had on their life.
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The Urban Vocal Group
Summary
The UVG has been a fantastic success over the past five years and has exceeded
expectations both in participation and outcomes. Participants have a pride in what
they do and have developed skills that they will carry for the rest of their lives. They
have enjoyed experiences that may never have arisen had they not joined the group
and in the process have become confident young people and valuable members of
society. They have developed an understanding of their peers and broken down
traditional territorial attitudes. They have made friends and have respect for their
peers. UVG stands as a benchmark model for participation in youth arts, providing a
safe, friendly environment that nurtures learning through enjoyment and aspiration
through achievement.
Charlie Fletcher
Director - The Urban Vocal Group
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