Judith Proctor's Journal

 I am absolutely shattered.

I don't tend to post much about the voluntary work I do for Wimborne Minster Folk Festival, largely because I feel it inappropriate to talk about stuff from committee meetings (in the same way as people don't comment on stuff they do as paid work).

Let's just say that it takes up a large amount of my time.

The festival for this year is over.

I organised 60 traditional dance groups, mostly morris dancers, but also Irish, Bulgarian, Appalachian, clog/step dancing, longsword, rapper sword and the Gurkhas from the nearby army base at Blandford.

I provided a series of dance workshops, ceilidh, organised almost the entire children's programme (Punch and Judy, Circus skills, maypole dancing, crafts, broom dancing, mumming workshop), organised the procession with 50 dance teams, and a boat.

I organised talks and workshops ranging from a detailed (and accurate) talk on morris history, to playing pipe and tabor.

Thanks to my husband's software, we managed a dance programme well in advance of the festival, with a minimum break of half an hour between performances for each team, managed to minimise overlaps for teams who share dancers/musicians, adhered to all requests for specific surfaces (eg. can't dance on brick, need to be on a stage, etc.)

We had dancing all around the town, outside pubs, in the Square, in the Cornmarket, the High St, Model Town, etc.

The atmosphere was amazing.  By Sunday morning, there had been 50,000 people in town (police estimate), and the number for the weekend as a whole will certainly be higher than that.

I've never had so much positive feedback from happy dancers, including many teams who were dancing at Wimborne for the first time.

It's the strongest dance line-up we've ever had.  I know most of you aren't dancers, so won't recognise the names but I shall post videos over the next week or so as people post them, so you can see some of the amazing teams we had.  (for those who are dancers, here's the line up )

I was recovering from a sprained ankle, so I hired a mobility scooter to help me go round all the venues.  That was definitely worth while.  It enabled me to walk when I needed to (Mainly when stacking the queue for the procession) and then give the ankle a good rest.

You get to do everything in this job, from mopping the Cornmarket stage after a very heavy shower, to just sitting back in the sunshine and watching a fabulous performance by Customs and Exiles.

What do dancers do when it rains? (which it did for about an hour on Saturday morning, before settling into happy sunshine for the rest of the festival)

Here's Drew from Knights of King Ina!

 Come and see what I've spent most of the year working on!

There's short a video of the procession and it gives a great synopsis. That's my husband getting shot at the start!

I'm still knackered, but all four of my children's groups performed wonderfully on the day.

The feedback has been amazing, probably the best Wimborne festival ever.

 Alex Holden was looking after bags and stuff for dancers during the procession, but it put him in an ideal position at an upstairs window to film the entire procession (there's just a couple of minutes missing where he had a camera glitch, but it's wonderful footage. Nearly every side stops and does a short dance just under the window.

See the children from the local schools, the sheer variety of colours and styles of dance.  Note the old hands, especially the Cotswold and North West dancers, who are used to processions and have processional dances that move gradually down the street, just stopping for the occasional figure when the procession slows to a halt.

Some groups, like the Welsh dancers, don't have a processional dance, and thus walk most of the procession (but may have done the odd dance or part of a dance at other points along the road).  Appalachian dancers don't do the procession, as tap shoes on tarmac really don't give the desired effect!

For me, this is a wonderful chance to see the procession that I mostly didn't actually see on the day.  I note with some amusement that the Fezheads have worked their way forward from their official position nearer the end and are now up near the start. (Look at the way they carry their carpet with them and lay it down whenever they perform)

See the Knights of King Ina (who quickly became favourites of mine).  They dress in black and white and do jigs.  A jig is a rather energetic solo (or two man) dance in the Cotswold style.  Even when they're two thirds of the way through the procession, they're still putting in a lot of energy.  I remember seeing them pass the finish line, still with energy in the leaps even after all that dancing.

See if you can spot Richard, dressed in a bright orange tatter costume passing through the audience with a collection tin. (If you think he looks like the Librarian, that's because the costume was originally made at a Discworld convention)

Right at the end, you get Whitethorn ladies morris.  I put them at the end for a good reason.  I knew I could rely on them to turn up in good numbers and dance well to give the procession a good ending rather then dribbling off into nothing.  They didn't disappoint - lovely crisp footwork, even after having spent well over an hour queueing and dancing down the road.

I'm so glad Alex took this film, I think I shall return to it when I want to remember what Wimborne 2014 was like.  This is what I spent six months hard work for, and it happened and it was good.

 Still to sleepy to write much, but this newspaper article sums it up nicely.  We aimed for a family friendly atmosphere - and we achieved it.

Some of the reasons it worked were directly due to things we did like having more activities specifically for children, and some were a serendipitous side effect of other things we did.  For instance, we spaced the stalls out more to leave easy access to any local shops that were opening, but that in turn made it easier for people to move easily around the festival.

We spread the festival out to add two new locations and I think we actually had more people overall, but at a slightly lower density which gave people more breathing space.

We were lucky in some regards.  The recently refurbished square made a lovely dance spot - we put less stalls there and made it a big open dance space and got big audiences there.  Willow Walk, a lovely grassy area by the river, has only been there a couple of years and made a wonderful area for children's stuff.  Loads of people were relaxing there, having a picnic, etc.

Some of the pubs, especially the Albion, got on board with the family friendly aim.  The Albion had free story telling sessions and face-painting and pulled in massive numbers of people over the weekend.  They also hosted one of our new Appalachian dance spots, which soon developed a good audience.

We had some lovely comments from people attending the festival.

Doing random folk festival stuff:

1.  Make sure maypole is not in two places at once.  The maypole workshop and the school group using the maypole cannot be at the same time, but it helps if they are close to avoid carrying the pole around too much.

2.  determine order for procession.  Each side will need to know who is ahead of them.

3.  Book a group of fairies as walkabout entertainers.  Part of their function will be to tell people where all the new features are - we've added/changed a lot of things from last year.  If people can't find them or don't know they're on, they will be wasted.

4. Cancel children doing Irish dancing who can't find a band.  (If you're a musician, preferably with a friend or two to increase the volume, used to playing for Irish dancing and want to come to Wimborne Minster Folk Festival, then I may be able to put you in touch... - and you'd get a performer's weekend ticket)

5.  An hour later (no less!) add new group of children doing Cotswold and Border morris.  By happy coincidence, the scout hall is now available for indoor camping for children as the Irish group no longer need it.   

6.  Phone back up scout hall, just in case the Irish dancers hit lucky on finding a musician.  (no one replies, try again later)

7.  Confirm Cotswold Morris workshop on the Wayford Tradition.  Will need to think of suitable place (probably website) to make the workshop notes available.

 I seem to have ended up on not one, but two folk festival committees.

I was in Wimborne this morning, looking at dance spots and stall locations for Wimborne Minster Folk Festival.  It's been a lot of work so far, but I'm getting a good feeling about it now.  There's some really good ideas starting to come out and I think we can do some interesting stuff that the old committee were unable to do.  I want to do a lot more stuff for children and run workshops for morris and longsword and other traditional dances.  We want to do a lunchtime family ceilidh and all sorts of stuff.

I'm also helping with Poole Quay folk festival - first meeting for that is in a week or so.

As requested by lexin , here's my tips on how to collect:

1.  You have to like people.  Think of every person you are collecting from as someone who is potentially going to give money to your cause.  Think of them before you approach them as being likeable people.  It goes without saying that you should approach everyone regardless of race, age, disability, etc.  (you get a let out for drunks, but that's all)

2.  Go slowly.  This is a classic mistake.  Too many people rush round and miss everything.  Why do you need to go slowly?  See below.

3.  Make eye contact.  Pause.  Smile.  Hold out the tin.  Look hopeful.  Make sure that the label on the tin is clearly visible, so that there is no doubt as to what you are collecting for.  You should also be wearing a badge that identifies you as an official collector.  (If you're in kit with a morris team, then this qualifies)

4.  Take your time.  Chat to people, joke with them.  If they're interested, tell them about what you're collecting for and know your facts.  I often get asked what the money in the festival collecting tin is used for, and I will try and focus on the parts of the budget that are most relevant to the person asking.  eg.  If I'm collecting in the Cornmarket from people who are watching the Appalachian dancing, then I can tell them that the money helps pay for the staging and sound system in the Cornmarket.  I'll tell people a brief bit about where the dances come from, where the dancers come from, anything else they're interested in.  (I don't give people the spiel unless they ask, but quite a few do ask.)

5. Don't forget the people at the back.  The average collector goes round the front of the crowd.  The good collector makes eye contact with every individual including the people right at the back, and often goes through the crowd rather than around it.

6.  Watch the body language.  Time and again I see someone with a tin walk past as a gentleman puts his hand towards his trouser pocket, or an old lady reaches for her handbag.  These people wanted to give, but the collector never noticed.  Take your time.  Wait.  Chat to the old lady burrowing in her bag.  Don't let her feel embarrassed about being slow.  Make her feel that you appreciate her being willing to make the effort.  Be willing to hold ice creams, small children, anything that is stopping people being able to reach their money.

7.  Always say thank you, no matter how small the amount.  3p may be all that particular person had in change, it may be all that a slightly pissed drunk put in for a laugh.  Doesn't matter; they have donated, so you thank them.  You are representing the organisation you are collecting for.   A sincere 'thank you' to a small donation may also have the side effect of often triggering donations from people standing close by.

8.  Never assume that people in wheelchairs won't have money.  (I know some people feel a bit guilty about asking the disabled for cash)  I tend to regard it as insulting not to ask them. 

9.  Small children love to put money in tins.  Relax.  You're going to get lots of pennies put in very slowly.  Enjoy the moment and help them enjoy it too.

10.  If you're at a festival or anything like that, remember that you're part of the entertainment.  Dress the part.  If you look really good, people will cross the road to put money in your tin.

11.  Don't rattle the tin - unless you're doing it in time to music.  Some people get annoyed by it.

12.  If you're going round the same crowd several times, be aware of turnover.  There will be more new people coming in, but also some people staying a long time.  If you see people who have recently put money in, then nod and smile at them in recognition of the fact that they've already put something.  If you do this well, they'll put something in again on the third or forth pass as they appreciate the fact that you haven't been hassling them.  Do NOT assume there are no new people coming in.  It's perfectly acceptable to go around now and then asking casually "Any new faces?  Anyone I haven't already asked?"  Lean to judge the rate of turnover so that you don't go around too often or too rarely.  If there are a small number of people and turnover is small, chat to people and see if they're interest in the history/ whatever of what you're doing.  Regard it as an educational opportunity as well as fund-raising.

13.  Never hassle anyone.  If someone says that they've already given, then thank them and move on.  (there are exceptions to this rule, but they take skill and an ability to read people - the key exception is this, If you can make someone laugh, then they will donate multiple times)

14.  Making people laugh.  This is for the experts.  If you can clown, dance to the music, use a glove puppet, flash your frilly knickerbockers, have elastic arms that can hold tins in strange ways/directions, collect money in your skirt, use witty banter with people you've seen before, flirt gently with members of the opposite sex (or your own if you're gay and can read the signs well enough), then it will raise more money, additionally it will also help make the entire event relaxed and enjoyable for everyone.

15.  Be aware of the legality of where you're collecting.  If you want to collect on the street, the event/charity you are collecting for should have a specific licence for the time/place.  Duplicate licences aren't normally granted.  If you see people collecting for other organisations, then check with your organisation whether they have an exclusive collection licence.  Be aware that a small number of organisations may try and sneak in illegal collectors.  These people are taking money from your organisation.  Warn them, then report them to the police.  Pubs and private premises are not covered by street collection licences. You should also for permission at the bar or wherever apropriate.  Do not collect without permission.

Street collections are much harder then festival collections.  At festivals, people are watching free entertainment and are expecting collecting tins and regard them as a way of supporting something they're enjoying.  If you're collecting cold in the High Street or you're on  a picket line, then you've got your work cut out.  This is where rules 1 and 3 become most important.  You've got to  make eye contact with everyone (even if it's only for a fleeting second).  When you have eye contact, smile.  Mentally think  "Hi, you look like a nice person".

If they keep on going, let them go.  If they look back at you, then ask them if they'd like to donate.

Especially on streets, people are often in a hurry.  This means that if they ask you for more information, you need to know how much they want.  So, if for example, they ask what you're striking for, then ask if they want the long or the short  explanation.  Time is valuable to people.  If you don't waste their time when they're in a hurry, then they'll appreciate you respecting their wishes.  'Short' means an absolute max of 60 seconds and preferably no more than 45.  Never use more than three different facts.  (three is about all people will remember, and if part of your aim is to publicise your cause, then you should aim to give  them simple clear facts that they can pass onto other people).

Now, this is the really hard part.  You're out on the street on a cold, miserable day and very few people are giving.  You have to be HAPPY.  If you can't be happy, at least aim for relaxed.  People respond to body language.  If you're grumpy and angry at the world/your employer/big business/polluters/agribusiness, then you do NOT want to project that anger onto the unfortunate person approaching you.

Find something positive about what you're doing.  You have to offer hope.

You may get some money if you say 'Species are going extinct faster than at any time in history', but you'll get more if you say 'Otters are returning to rivers in every English county'.  Both are true, but people respond better to good news.  They like to think that their money will achieve something, not vanish into a bottomless pit.

So, if you're on a picket line, focus on something positive that the money donated will do - or what it has already done.


To summarise:

Be happy, polite and welcoming to everyone

Do not miss anyone out

Be prepared to give time to every individual and not rush onto the next person

Every year, the family hold our annual competition to see which of us can collect the most for Wimborne Folk Festival.  The origins of this custom lie deep in the mists of time, probably dating back to when I had a bad knee and was unable to dance for a while and discovered I was actually rather good at collecting.

The competition was in particular earnest this year, as the festival had lost one of its usual sources of income and its grant from the council was reduced as well.

The totals are now back.  We collected over £2000 between us, but I was over a hundred pounds ahead of Richard and Henry.  (I'm not quite sure how I managed this, as I know Richard filled more tins than I did (and often fills them fuller as he can handle more weight).  I think it must relate to the fact that I went around the music sessions as well as the dance spots and thus visited places where the tin had gone round less often and thus got a higher donation per person.  That's my best guess.  Still puzzling though - I'm sure Richard sold more programmes than me - and they're £2 each in the tin.)

We were all shattered afterwards, but we had a good time.  We all like the atmosphere at Wimborne and at least we get to the two evening ceilidhs.  (We rarely get to any of the day time events as we never really stop collecting/selling programmes)