The folk revival sparked off a whole generation of music making. In the fifties and sixties links to traditions of music making were in a fragile state. In Ireland there were a few handfuls of pipers, in rural Northumbria the distinctive sound of the Northumbrian pipes were in the trust of a few musicians and the borders or lowland pipes were scarcely to be heard.

Traditional song was in an equally fragile state. It was still alive in some rural areas and the travelling community was almost alone as the last guardian of a rich culture that was a closed book to the younger generation of this country.

Traditional music was evident in some tight knit communities, including Irish migrant workers, but for many people, the folk clubs were the door to this culture. In literally thousands of small regular gatherings, people were introduced to the traditions of these islands and they embraced it with enthusiasm and skill.

In this vast network of clubs, master musicians were accessible. They were not star performers on a distant stage, they were sharing their music in an intimate way that also connected with their audiences at a human level. They had tales to tell and experiences to share. They were ‘passing on’ traditions in an effective way. It wasn’t organised, it wasn’t commercially driven, but it has resulted in large numbers of musicians and singers, many of whom can now stand on major concert platforms of the world to share their music. Their music is no longer seen as quaint or the performers as lacking musical depth. Theirs is music that can hold its own alongside any other, earning mutual respect as evidenced by the growing interest in all types of music of musicians who want to connect with their roots.

Inevitably this abundance of talent has brought commercial success and welcome exposure on the bigger stage, but the smaller gathering is still the engine of this music. Most of the top tier of musicians now working professionally are still ‘session animals’ at heart and, in ways that are almost unique in commercial music, still share their music in an open and accessible manner.

Traditional music from the UK and Ireland crossed boundaries. It is impossible to tell the story of Scotland’s music without recognising the influence of Irish musicians, or to tell the story of Ireland’s music without reference to ‘highlands’ or ‘polkas, or to give a comprehensive picture of music making in England without acknowledging the music of the Irish communities in cities such as London, Leeds and Newcastle.

Traditional music from these islands also went outwards to the Americas, Nova Scotia, New Zealand, Australia and elsewhere and, as a seafaring and trading nation, musical influences were brought back to this country and absorbed into our traditions. ‘Passing it On’ will work across boundaries. Whilst it will recognise, value and encourage interest in distinct local and regional traditions – it will also recognise the common ground.

As an ‘enabling organisation’ ‘Passing it On’ will try to highlight and promote the work of individuals and organisations and encourage the sharing of ideas and experience. There is no ‘one size fits all’ solution to the encouragement of the passing on of traditions, but there are now plenty of examples of initiatives that have worked. We can see the results of work started by individuals a generation or more ago and, as far as the folk revival is concerned, we are well into the second or third wave of the legacy of these efforts.

Sometimes we are so close that we can’t see the wood for the trees. ‘Passing it On’ will highlight and celebrate achievement – not just the high profile ones, but also the ‘voice of the people’, the unsung heroes who are the driving force behind these traditions.

Traditional music is once again endemic in a new generation of music makers – but what can be won in a generation can also be lost. Fortunately the folk revival had its share of people who were committed to teaching, most at an informal level, some making a big impact within formal structures. It would now seem almost incredible if you couldn’t study your own indigenous music at degree level, but for a long time this was the case.

‘Passing it On’ seeks to promote an interest in traditional music education in the informal sector. This is education with a small ‘e’ – for traditional skills in any area are largely passed on from ‘master’ to ‘apprentice’ on a small scale - but it is education with a big impact. This is not textbook learning, this is hand to hand, ear to ear passing on of skills.

‘Passing it On’ is acutely aware of the importance of youth but fully appreciates the value of the older generation. One of its core concepts will be ‘the folk arts apprentice’. ‘Passing it On’ will seek to enable this passing on of traditional skills working and helping to provide a network for individuals and organisations sharing similar aims.