Actually, Conrad, in a way you're right when you compare instrument makers with professional folk musicians - in both cases the returns are barely enough to make a living.

A concertina contains thousands of parts, nearly all made by hand, and takes hundreds of hours of work. A craftsman can turn out only a few a year. Even though they sell for thousands of pounds (still probably less than they're worth), after they've deducted their costs they're not left with a massive profit - certainly not enough to employ an apprentice.

I am a certified secondary teacher I know about teaching methods. But nothing about learning methods, apparently. People learn better when they're enjoying themselves.

Folk music works on many levels, education, morals lessonss, history, pschological curative, entertainment? just a blip Once again, you've got it backwards. If people aren't entertained first and foremost, they won't take on all the other levels you mention.

Folk music isn't a social duty, it isn't a religious imperative. It's something which a minority of people enjoy, and through enjoying it they want to learn more - which they can do in all sorts of ways. There are plenty of workshops and sessions where the primary objective is teaching, and people go there to learn. There are other events which have different objectives, although people may still learn something at those.

You want a single model for folk events which covers all eventualities - teaching, entertainment, attracting new fans - and all for free. It should be blindingly obvious (except of course to you) that in trying to do all things you'll achieve far less than when events specialise on one aspect.