Tissa Liyanage - BMR 2007

My comments are as follows (under each dot point):

1. Need for a broader systematic approach for organising this event (A separate BMR Team ??)

I do not think a seperate BMR team can be appointed ( no provision in the constitution). If needed a dedicated BMR team can be appointed once the SCF comittee is elected and the leader of that team should be the VPCultural. A so called team "BMR Team" will not work outside an SCF committee.

2. Need for a change of the format.

The format (not only the theme) should change every year to add a flavour and value to the show. This is where we need new blood and new thinking to the future SCF committees.
Should this be a biennial event ?

We need to consider first whether it is financially viable to stage BMR. If not we should not have BMR at all. Biennial could be a feasible solution. The classic example is Sinahlese school concert, which was held yearly before, has become sustainable from all aspects as a biennial event.

Unless we attract regular sponsors to sponsor the event on an yearly basis. My openion is that BMR is not financially viable in the long-run in the way it is happening.
A systematic way of transferring experience/knowledge of each event to the next event for the continuos improvement process. Currently even though we discuss various issues etc. after the event it is left to the next SCF committee to start everything from the scratch. Knowledge/skill transfer is mainly based on personal relationships level (currently) and need to establish a transparent systematic process for this

We have earned a wealth of experience through past BMRs. Easily this could be well documented to be used bu committees as a guidance. Further, each SCF committee elected should groom some of its members to take-up higher positions such as VPs in the next committee without having completely new faces in the new committee. This will ensure hands-on experience is carried on to the next committee

4. Prepare set of guidelines including standardisation of items

Guidelines are available. The 2006 committee prepared a criteria/guidelines for selecting artists for BMR and it was implemented for 2006 bmr. No need to re-invent the wheel. There could be some improvements that we could make on those.

Yes, for standardising a set of guidelines to be developed and implemented. Even a resolution could be passed at the AGM, if required, if SCF committees need the mandate of the membership for implementing such guidelines.
Need for an early planning for the event (June/July this year for next year BMR by this year SCF committee) in order to provide sufficient time to communicate with artists to ensure all the guidelines are absorbed by them and SCF implement them 100%

I do not think this is practical, and will happen. The SCF committe get elected in late September/ early October of the previos year. From September/October there are 7 months to plan and implement it. This time frame is more than enough to plan and deliver a good quality product.

However, due to the workload that SCF committee has in April because of New Year celebrations and BMR we need to think seriously why we should have both in April. Why we cannot have BMR in mid May ? So that the SCF committee could do both without streching themselves.
Need for educating performers/artist with regard to the enormous investment made for this event( financial+ SCF resources + all support team consisting our volunteers etc. ) and get their commitment to add value to the show

We should educate them to a level such that they will realise the gravity of it and the invaluable opportunity that SCF is providing to them to perform in good venue. The SCF should educate the artists to agree to SCF's terms and conditions, but not the otherway around. This could be through a signed agreement between SCF and artists.

5. A mechanism to ensure some artists/producers can not hijack the event

Guidelines/criteria and an agreement above could address this. At the same time past performances could be taken into account when considering their participation.
Community expectations

The Sydney audience has high expectations from BMR. Therefore, having suitable/guidelines in the selection process of artists will result in high quality items, thereby a high quality BMR. In order to make it a easily sellable event in the years to come the standard must me maintained at a certain level. If not it will be hard to sell tickets.
Seat reservation through the Box Office

With the current financial framework we will be losing another $3000 from tickets if sold at box office. If we keep the current ticket prices as they are it will be added to the losses. Otherwise we need to put the ticket prices up to compensate the loss.

Further, a culture has not been developed yet within our community to buy tickets through the box office. But should be introduced in the future, provided that we maintain a high quality show. Also it will take the ticket selling burden. This was done in 2004 Ranga Sankalana and it worked, I think.

6. Length of the show

Should be not more tha 3.5 hours including interval. This can be done at planning stage. The times of items to be given to artists by the SCF not the otherway round.

7.Other:

It is high time a marketing arm for SCF (Marketing VP) be established to market SCF's events more professional manner to attract regular sponsors $5000 or above so that financial burden of BMR will be drastically reduced.

As you all know since 2004 the Cast Hill hall hire charges were paid by personal funds of SCF committee members. This itself is a true reflection that BMR is not a financially viable venture. This is a very serious issue that we all should think very seriously and address it now. If not BMR and the SCF will not survive for long.