In a fitting location near the banks of the river Taff, the groundbreaking “Decolonising Environmentalism”will be taking place in one of Wales’ most diverse and multicultural communities, Grangetown. It’s a film screening of Thank You For the Rain, Q+A discussion and a community meal with invited speakers organised and programmed by gentle/radical headed by local artist Rabab Ghazoul.
Thank You For the Rain is a multi-award winning film directed by Julie Dar. Kisilu, a Kenyan farmer, records and documents the experiences his life, community and his family- and the effect that climate change is happening on their lives. A chance meeting between the director and Kisilu changes a few things: but you’ll have to watch and find out what happens.
Decolonisation isn’t something typically discussed in every day Wales and neither is environmentalism. In fact, we focus on equality, and diversity: but decolonisation remains a little-uttered word in Wales until gentle/radical’s recent innovative work such as the frequent (and well frequented) Imagination Forums. It’s definitely a radical event its vision in that it’s radically different to anything anyone’s ever done before, and it’s this radical vision that has been met with success in the nation’s capital.
Environmentalism and decolonisation have huge impacts and implications in Wales- just look at the recent conversation on the tidal lagoon in Swansea, the legacies of post-industrialisation or the environmental racism of gentrification in Cardiff city (and beyond). gentle/radical’s work has grown to accommodate a need in the city for diverse and innovative programming for Cardiff city as it so rapidly grows. It’s the second people’s symposium following the phenomenally successful “Death of Distance” that saw Amrit Wilson and others discuss the legacies of the Balfour Declaration and the Partition India.
The event will be taking place at the Shree Kutchi Leva Patel Samaj Cardiff in Grangetown this Saturday 1st July 2018. Tickets are £15 for fully waged people, £10 for partially waged people, £5 for unemployed people and they’re likely to sell out before the weekend. Tickets are free for asylum seekers. Book your tickets here
Afternoon tea, Apple, Belonging, Brexit, Cricket. What connects these words and phrases? Well on the surface, not much. In the black box space of the Dance House at WMC, with audience sat in the round and screens at two ends, words from a pre-arranged lexicon flash up in alphabetical order on a screen. With the encouragement of performer Jonny Cotsen we the audience are encouraged to stop the lexicon and discuss anything in relation to these. English is a collaboration between National Theatre Wales and Quarantine and forms part of the Festival of Voice celebration. It is a live performance which is by nature different every night, and blurs the boundaries between creator/receiver and audience/performer.
In typically British fashion, people are initially rather hesitant to contribute to the conversation and instead sit silently in their chairs. For Jonny this isn’t an issue – he is an excellent and engaging storyteller in his own right. As words flash up he regales us with stories from his own life; from planting an apple tree for his daughter, to his time as a shepherd on a kibbutz in Israel, to his struggles during voice therapy learning to make speech sounds by feeling the vibrations on a balloon. As someone who is profoundly deaf and who has only recently started learning British Sign Language Jonny offers a fascinating perspective on the use of English and the ways in which people communicate.
With a strict time limit imposed by the stage manager of 90 minutes, our progression through the words continues apace. As people warm up to the idea of contributing, discussions bounce across the space – from the derivation of the phrase ‘arse over tit’, to a reminder of the poisonous qualities of the ‘daffodil’ Topics of conversation are generally light, with more contentious words such as ‘Brexit’ and ‘de-colonisation’ generally considered the ‘Elephant in the room’ (another phrase on the lexicon) and skirted over.
Occasionally the lexicon is interrupted by a filmed segment, or an invitation to contribute to the piece in another way. These range from the wacky to the surreal. This is a great way of breaking up the structure of the piece and ensuring that the performance never feels too much like an empty void which has to be filled with conversation. Towards the end Jonny encourages us to use alternative methods of communication – instead of speaking we use paper and pen to all contribute our ideas and answers. This provides the audience with some fascinating insights, from people’s first language (English, Welsh, Spanish, Dog) to where they consider home (the USA, Wales, New Zealand, Unsure) and many more. These serve as a reminder that while English may be our shared method of communication, we all arrive at it from different perspectives and angles.
Finally it hit me what the connection between the words was. They were all things associated with English/British identity. It is interesting that a production by NTW does not have more of a focus on Welsh heritage or identity, with Daffodil the only specifically Welsh centered word. Perhaps on another evening, with a different audience this may have come up in conversation. When the word ’empire’ flashed up, it is interesting that the conversation turned to the Aztec, Inca and Mongol Empires rather than the obvious choice of the British Empire. This only further highlighted the anglo-centric bias of most of the discussions of the evening.
The main difficulty in reviewing a show like English, is that while the structure and concept of the show will remain the same, the show that happens tonight or the next night will be radically different in content to the show the happened last night or the night before. So much of the show depends on the generosity and openness of your fellow audience members. This type of collaborative method for creating a show may not be to everyone’s tastes. However if you’re interested in seeing something a little different, in becoming part of a conversation about language and identity rather than just a passive audience member then English is a fascinating piece.
Live performance/performance art
Dance House, Wales Millennium Centre
20th June 2018
Performed by Jonny Cotsen
Directed by Richard Gregory
Part of the Festival of Voice – more info and tickets here
I’m never quite sure what we are trying to say when it comes to our use of the internet.
And I’m none the wiser after this performance.
We dance around the issues of data-sharing and personal exposure. We dally with each other’s lives and throw our own out there into web-space without thought for the consequences.
We trip the light fantastic with our innermost secrets reluctantly and willingly bared.
This is elegant, cautious, a ripple of ideas from dancer to dancer. We give and we take, we argue and hide. We watch the interplay of give and take played out as always with beauty, story and perfect timing.
We watch two reluctant lovers forced together by circumstance and unavoidable magnetism progress into companionable partnership.
This philosophic performance makes me think: do we have a choice?
Clever, thoughtful, poetic.
All photography by Sian Trenberth, Panopitcon by Tim Volleman, Set & Costume: Sophie Wheelan, Lighting: Jose Tevar , Sound Design: Benjamin Smith, Composer: Trailand Elzorth. Dancers: Elena Sgarbi & Oliver Chapman
Some people just make you wish you could be someone else, have someone else’s gifts – maybe just for a day.
This is clean, smart, strong. She stands confidently alone and accepts the challenges life brings.
I am agog at the power in this dance, this dancer. She is utterly beautiful and complete.
‘Un’ by Kat Collings , Set & Costume: Megumi Okazaki, Lighting: Jose Tevar , Sound Design: Benjamin Smith , Composer: Sylvia Villa , Dancer: Julia Reider
To my left is a choreographer and dancer and she says of this: they fly!
And fly they do.
This piece is the reason to follow this dance company, to follow dance, to sit here in the dark and let the lights and the simplicityof the stage capture you, to let the music touch you and the movements of the dancers feed your soul.
The love in this dance makes me cry. This feels as if it has been born perfect, perfection born of two imperfect creatures in a story of passion and pain.
“Truth is, so great, that I wouldn’t like to speak, or sleep, or listen, or love. To feel myself trapped, with no fear of blood, outside time and magic, within your own fear, and your great anguish, and within the very beating of your heart. All this madness, if I asked it of you, I know, in your silence, there would be only confusion. I ask you for violence, in the nonsense, and you, you give me grace, your light and your warmth. I’d like to paint you, but there are no colors, because there are so many, in my confusion, the tangible form of my great love. ” Diego Riviera
I see this piece again and again behind closed eyes and relive it best I can.
To my right, the costumier says, however many times I see this it will not be enough. I agree.
‘Ecrit’ by Nikita Goile, Set & Costume: Erty Huang, Lighting: Jose Tevar , Sound Design: Benjamin Smith , Composer: Florencia Alen Dancers: Nikita Goile & Cyril Durand-Gasselin
Why Are People Clapping
Because they are having fun!
Slapping, clapping, rollicking dance as a lively contrast to the soul-searching we have enjoyed before.
I find this hard on my ears and squint back at the stage, recoiling slightly at the noise. It is such a shock! The rhythm of life beats and the audience laughs and we pull faces back at the dancers’comic turns.
This feels like an exercise, an exploration – a start to something this extraordinary company of dancers will see through in its own way and I very much look forward to seeing it too.
‘Why Are People Clapping?’ by Ed Myhill,Set & Costume: Elin Steele, Lighting: Jose Tevar, Sound Design: Benjamin Smith , Dancers: Julia Reider, Kat Collings, Tim Volleman, Elena Sgarbi & Oliver Chapman
A wonderful series of pieces – I left exhausted and elated.
7 – 9 June 2018
Seen: 8 June
National Dance Company Wales
Dance & Design from Cardiff’s emerging artists
Dance House, Wales Millennium Centre
Choreographer – Tim Volleman
Dancers – oliver Chapman & Elena Sgarbi
Choreographer – Kat collings
Dancer – Julia Reider
Choreographer – Nikita Goile
Dancers – Nikita goile & Cyril surand-gasselin
Why Are People Clapping
Choreographer – Ed Myhill
Dancers – Julia Reider, Kat Collings, Tim Volleman elenaSgarbi, Oliver Chapman
Jurassic World: Fallen Kingdom works by being a true blockbuster and tapping into what makes them great watches. Simple and engaging characters that move from one set-piece to the next. Along the way we see wild images and feel a gamut of emotions and leave feeling satisfied.
I enjoyed the first Jurassic World movie enough but found there were many pointless elements, plot points that didn’t make any sense and some wasted potential. It did, however, make a lot of money so a sequel was inevitable. But they announced that J.A. Boyegar was taking over the reins as director. From his Gothic horror movie of The Orphanage to Disaster movie The Impossible and the best movie of last year with A Monster Calls he has quickly built-up a reputation as one of the top filmmaking talents. His movies cut deep into human emotions, whether they be fear, endurance or dealing with reality they are emotionally driven. He adapts himself to using some similar shots that we know from this established franchise (one particularly iconic helicopter shot) and more chatty and joky characters and has made something him and is part of a franchise.
Now for the synopsis. Jurassic Park was meant to be a park where they brought Dinosaurs back from extinction and the people could experience them. This was obviously a bad idea but lent itself to a great scenario so they did it anyway. It went badly. The Dinosaurs got free and now run the island, that is the current situation, but the volcano at the center of the island is about to erupt which will wipe out all the Dinosaurs. Some say they should be saved because they are living creatures others say they can never be controlled and are man-made so be left to their fate. A special group is financing a rescue of two of each species and they recruit Claire Dearing (Bryce Dallas Howard) from the last movie to assist, she then brings in Owen Grady (Chris Pratt) also from the last movie because of his expertise and connection with Blue the Raptor.
From here on the movie strings together set-piece to set-piece and thematic elements into a whole. It isn’t at the non-relenting passe of Mad Max: Fury Road but it is brink and with a bountiful serving of variations. There are suspenseful moments of having to sneak around, chases, and confined situations of claustrophobia.
There seems to be a resurgence, since the release of The Force Awakens, of using practical effects and prosthetics again and I am so happy to see it. C.G.I. is a wonderful tool but it is not the answer to all, practical effects give weight and believability to the creatures. C.G.I. ages very quickly and a real, well textured and painted model or puppet won’t. As well as that it gives the actors something to genuinely act with.
There is an understanding that Dinosaurs are the biggest predators that ever walked the Earth and to be around one that eats meat, is one of the most dangerous things you can do. It is quickly established with the dread the characters talk about them, the fear that flashes on their faces and a few selective devourings of characters. Even the herbivores are so large that if you get in their way, you will be flattened.
When development of a movie begins there is what is called “Concept Art” these are pieces of art that seeks to give a feel for the tone and mood of the movie and give the filmmakers something to work towards visually. They are usually expressive and quite beautiful. Through the movie, you can see moments in which were clearly taken from a piece of illustrated art and are some truly beautiful and haunting moments of cinema.
Thematically the movie is focused on the original movies concept as well as going further to Mary Shelly’s Frankenstein (she even gets a cameo in the movie in the form of a painting) and that is the responsibility of creation.
This movie is a reminder of what a great experience you can have sitting in the seat of a theater and seeing the images on the big screen and hearing the loud sounds all around you. It respects the original material and boldly pushes it forward and will have you in awe and tremble in fear of Dinosaurs.
The director of Get the Chance, Guy O’Donnell recently met with Aisha Kigwalilo. They discussed her background, a new arts project called G.I.R.L. Xhibtion and her thoughts on the arts in Wales.
Hi Aisha great to meet you, can you give our readers some background information on yourself please?
Hi, I’m 19 years old and I live in Cardiff, yet I am of African descent. Currently I’m an undergraduate student finishing 1st year study of International Relations and Politics however I have not always been in this field. Throughout high school, college and now I’m involved in music as a vocalist and songwriter.
So what got you interested in creative expression, the arts and social activism?
Creative expression has been something I have always embodied, in my music, dance and musical theatre phase. However, my interests in social activism and supporting human rights and social justice has always been brewing; it was being placed in an environment such as politics that reminded me how important those issues truly are. Considering the fact, leader fellowship programme, TuWezeshe Akina Dada gave me this opportunity I believe that, even though I’m not an artist myself, art is the best language to translate feelings that leave words speechless.
TuWezeshe Akina Dada is a leadership programme built to encourage, mentor, and inspire young women to live to their full potential. Operating since July 2016, TuWezeshe selects young women from England, Wales and Scotland, training us how organise our own projects of activism in both the British and African diaspora.
The projects we decide to create surround the lessons taught in our training, gender-based violence, identity, and empowerment. G.I.R.L. Xhibition lies in empowerment, because it focuses on how society only gives platforms to certain narratives. With the limitations communities face when it comes to representation, numerous narratives can shape an individual yet many of those narratives hardly explored. G.I.R.L. Xhibition aims to present the narratives of the ordinary, through the expression of art. Making the unconventional, the new conventional.
Therefore, with donations from Comic Relief TuWezeshe’s founder FORWARD UK has partnered with Sub-Sahara Advisory Panel Wales thus each fellowship is granted £500 for their project. However, for personal reasons and I believe many could relate to I have registered G.I.R.L. Xhibition to be a fundraiser for Velindre Cancer Centre. It is something that hits home for me and I know it is a narrative many individuals can relate to, thus all profits e.g. ticket sales, drinks will be donated there!
One of the Get the Chance team, Amina Elmi is involved in the exhibition in Cardiff, how did local females get involved in the project and how did you select the work to be exhibited?
Well I selected Amina Elmi to model for G.I.R.L.’s promotion campaign. In the actual exhibition, nine artists from across the UK (Cardiff, Newport, Bath, Bristol, Swindon and Portsmouth). I wanted to select ordinary girls like Amina because I wanted to help expand the platform of the representation of black women, to ordinary girls and those of African and Caribbean descent. Amina’s poster is one of four other posters, each one designed differently and highlighting their character/personality. They aim of my campaign was to highlight the cultural and personal dimensions. I selected each girl based on their individuality and the differences that them similar to me, others, and perhaps yourself!
We asked Amina to give a personal response to her involvement in this new intiative.
How did you come to be involved with this project?
Aisha and I were friends in college. We recently caught up with each other and Aisha told me that she was planning an exhibition. I was really impressed as she was so passionate and excited when explaining the project to me. Later, she then asked me if I wouldn’t mind being in some photos for the promotion of the event.
Can you tell us more about your work featured in this project?
Myself and 3 other amazing young ladies were asked to do a photo shoot. This was for the promotion online and leaflets that Aisha was going to make. In the photo shoot, Aisha made sure we were all comfortable and reminded us that she wanted us to be ourselves. This allowed the photos of us girls to represent a different types of black women.
Definitely. This exhibition is about black women. A group I feel is restricted by stereotypes and ignored by the mainstream media. By showcasing different types of black women this exhibit is defying those assumptions. In my case, Aisha wanted to highlight that the experiences of black hijabi women are also valid.
Aisha, Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers to equality and diversity for either Welsh or Wales based creatives?
I’m aware of the barriers to equality and diversity in Wales to a great extent, presently I’m noticing a growth in Welsh based creatives showing more presence, especially in Cardiff’s art festivals. When I was searching for the artists I made sure to provide Wales based creatives (Newport and Cardiff) the opportunity to showcase in an art exhibition I believe, has not been displayed in Wales. And I hope after this exhibition, more Wales based creatives will be inspired to develop exhibitions like G.I.R.L.
There are a range of organisations supporting Welsh and Wales based creatives, I wonder if you feel the current support network and career opportunities feel ‘healthy’ to you? Can more be done?
Well, I am receiving a great deal of support from the National Museum of Wales, which is exciting! But except for that the current support network I am receiving at this moment is from individuals, specifically artists in their own right within the Welsh university community and friends; I believe that is more than ‘healthy’. Yet more can be done, because when looking at the works of all nine artists I realised that in exchange for them volunteering their artworks to such a great cause, the least I can do is provide them the exposure and attract creatives and galleries within the Cardiff area.
If you were able to fund an area of the arts in Wales what would this be and why?
This is a hard question but honestly, I would direct my funds to art departments in Welsh schools and universities. There is scene there that deserves to be noticed, I believe that many artists get discouraged to continue as it is considered an ‘unrealistic’ career choice especially in African and Asian communities. If art students are given more platforms to showcase and interact with other Wales based creatives/artists that will be worth something!
What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers?
What excites me about the art in Wales is the subtle growth of creative expansion. I appreciate the Celtic and culturally Welsh inspired to the postmodernist statement exhibitions taking place in Wales! I just hope G.I.R.L. Xhibition can contribute to this growth of expansion and open up another avenue the Welsh creative community can explore.
With ‘People – Picture – Power – Perception’ (PPPP), Avant Cymru set out to explore what Welsh Hip-Hop theatre is and to showcase the hip-hop talents of Wales at the Chapter Arts Centre as part of the 2018 Cardiff Fringe Theatre Festival.
As the title suggests, the piece portrays people, gives them the platform to show their picture, which gives them the power to change the perception surrounding hip-hop. In the mainstream, hip-hop is portrayed as specifically rap with themes of drugs and gangs. A major worry when attending this performance was that it would be too much like this. I have had experiences with Welsh hip-hop before and it has been limited to that field.
However, Avant Cymru do not fall into this trap. If you’re not aware, allow me to give a very brief history and explanation of hip-hop culture. Hip-hop culture consists of four main art forms known as the four pillars of hip-hop; emceeing/MCing (rapping/singing/spoken word), DJing (beat production, beat-freestyling, beat-boxing), breaking/break-dancing and graffiti art. It started in New York and has grown into the one of the biggest art movements in the world.
Jonzi D, a pioneer of hip-hop theatre, was told at his dance school, “Hip-Hop is not valuable for the theatre,” before going on to define what British hip-hop theatre is, with the help of people like Akala who created the Hip-Hop Shakespeare company. And now, we have Avant Cymru attempting to do the same in Wales, with specifically Welsh artists, Welsh voices and Welsh themes.
Starting with the DJing, mostly produced by Jamey P, the beats used for ‘PPPP’ are exceptional. The production is one of the outstanding elements of the show. The production always fits, sounds incredible and even when left to stand alone is enjoyable.
Beatbox Hann performs his championship-winning beatboxing skills very well. His accolades and CV speak for themselves, but here he showcases real talent. Understanding when to blend into the background and when to come to the forefront.
The stand-out section of the show is a piece between Hann and breaker, Bboy Flexton (James Berry). It starts with Flexton sat at a table, whilst Hann starts creating a beat with his vocal chords. He mixes this together on what appears to be an MPC of sorts, so each sound loops and eventually builds into a beat. Eventually, Hann turns the beat off and starts beatboxing on his own.
Whilst this happens, Flexton starts to break into a dance. At first it isn’t exactly clear what is going on but as the dance progresses we see Flexton appear to hold a gun to his head before wrestling it away. This collaboration of beatboxing and breaking works very well and appears to portray a kind of suppression of violent outburst and possibly suicidal thoughts. It certainly would be interesting to see a slightly extended version of this.
Moving onto the breaking, and Flexton pops up again, portraying an aggressive nature. However, Flexton is the only breaker that seems to portray a specific type of character. This is not a fault of the breakers themselves, at different times they all proved themselves to be talented dancers. It is more a fault in the choreography and direction of the show. The expression could have been more clear at times. It will certainly be interesting to see the difference between this show and Avant Cymru’s upcoming ‘Blue Scar’, another hip-hop theatre show with more of a set story.
The emceeing is of a very good standard. Occasionally repetitive, but very good at getting the point across. Rufus Mafasa, Maple Struggle and Jamey P all perform well. The themes do jump around a little bit, but the lyrical content, delivery and flow are all strong. The highlight is Maple Struggle’s song, Quit Mooching, which starts with Maple Struggle getting left with the bill after a date before breaking out into a song about his perception of how some women will use men as well as general materialism.
The graffiti used in the performance is minimal. The piece as a whole could really capitalise on the art form better. There is a stylistic writing of the piece’s title on a screen off to the right of the stage and on a screen at the back of the stage, at times are pictures and moving pictures of graffiti. However, even sitting at the front it was hard to make out exactly what the graffiti was and certainly wasn’t used as well as it can be. The simple set worked well, but could do with more graffiti.
The main theme of the show is gender which is explored thoroughly. Toxic masculinity is portrayed particularly well by Bboy Flexton with the aggression as well as suicidal thoughts. An issue very specific to toxic masculinity and very important in the South Wales region. Rufus Mufasa also had powerful moments of feminist lyricism and generally portrayed herself as a powerful woman. Some of the breaking could be more clearly focused on this theme.
As far as is it worth seeing? Yes, it is worth seeing. It’s not the most rehearsed piece of hip-hop theatre or the most concise. But in terms of exploring what Welsh hip-hop theatre is, it is pioneering. If you’re a fan of or are involved in hip-hop then definitely see this if Avant Cymru ever bring it back. If you’re not into hip-hop, then I recommend seeing this for a positive introduction to hip-hop.
After the show there was a bit of a freestyle from those involved and some from the audience and the feel of community this gave off was beautiful. As a hip-hop fan, it was great to see the true power of hip-hop community shine bright.
As this was a once-performed show with no known future dates, go and check out Blue Scar by Avant Cymru at the Park & Dare Theatre in Treorchy on July 12th and 13th and at the Edinburgh Fringe Festival. Much of the same cast will be involved and the preview they gave at the end was very good.
‘People – Picture – Power – Perception’
Chapter Arts Centre, Cardiff
31st May 2018
By Avant Cymru
Directed and Choreographed by: Rachel Pedley, Tommy Boost and Jamie Berry.
Music From: Maple Struggle, Rufus Mufasa and Jamey P.
Set Designed by: Unity (Amelia Thomas).
Breakers/Dancers: Rachel Pedley, Bboy Flexton, Tommy Boost and special guests (uncredited).
Billed as a fusion of storytelling between Celtic and Zimbabwean cultures, Everything Changes is a collaboration between professional storyteller Bevin Magama and founder of Weeping Tudor productions James Ellis. Taking place in the cosy setting of AJ’s Coffee House on City Road, this show is part of the “Fringe Labs” strand of this years Cardiff Fringe Theatre Festival – that means that it is ” either totally new, or [a] work-in-progress.This will be a platform from which they can make their first leap into the public eye, and develop their work”
As the show begins, James and Bevin enter the space to the rhythmic sound of a beating drum. Scattered on the floor around the stage are various instruments and props, of both African and European derivation, from the African Mbira to the Triangle. Bevin is resplendent in a colourful Dashiki style top and baggy pantaloon style trousers, while James’ costume also appears to be inspired by African clothing, but with a western twist. His top is similar in style to Bevin’s, but in a denim style, and instead of pantaloons he wears a navy skirt. Using a storytelling structure, both Bevin and James take it in turns to tell stories inspired by their own background and culture. We hear diverse stories such as the Welsh myth of Twm Siôn Cati, the Zimbabwean story of the Snake who crossed the river, and the myth of St Telio – patron saint of Cardiff.
Theses stories clearly demonstrate the very different storytelling traditions of both Celtic and Zimbabwean cultures. While James’ sections are poetic monologues performed with a simple sincerity, Bevin is much more animated, utilizing the call and response technique of audience participation, and allegorical storytelling style more common in in the African tradition. While Everything Changes promises to be a fusion of stories, these two traditions feel like they exist entirely separately within the theatrical space. Both James and Bevin sit entirely still while the other tells a story – there is no interaction or combination of storytelling whatsoever. There is also a strange difference between the two performers; Bevin is clearly an experienced storyteller who is captivating and dynamic, whiles James seems less confident of his oration. As an experimental piece of work still in progress it is absolutely fine for you to read your lines off a script – however disguising this by hiding your phone away on a music stand to read off is a disservice. It may have been more effective to own this decision, to put the script into a storybook which you are then telling the audience.
A highlight of the piece is the title section Everything Changes; a story about the impermanence of everything. Told while playing the Mbira, the monologue is beautifully enhanced by the dreamlike quality of the instrument. Other uses of instruments meanwhile feel a little more tacked on, with the instruments used in James’ stories adding nothing to the overall effect. Perhaps more sucessful would be to combine both storytellers together, with one telling the story while the other provides a soundscape behind it. Similarly, the ending of the piece, while cleverly experimental, jars with the tone of the rest of the production. This involves James opening the curtains to the venue, allowing us to see out onto the bustling main road and for them to see in to the venue. James then walks out, across the road and out of sight. As an ending this is totally unexpected and an interesting concept, but bears absolutely no relation to the rest of the show.
As a concept the idea of the show is an interesting one – the collision of cultures and storytelling traditions has the potential to be a way of celebrating both cultures while demonstrating clearly both their similarities and their differences. Sadly the execution in this piece is lacking, and the piece feels like two storytellers separately exploring the narratives of their own culture, rather than an exiting fusion of the two. A great concept with some entertaining moments, but ultimately delivered only half baked.
AJ’s Coffee House May 31st-June 1st 2018
Part of the Cardiff Fringe Theatre Festival – more information and tickets here
Artists: Penny D Jones, Gemma Green-hope and Sally Richmond
An installation of touch and sound.
The exhibition is in the gallery ArcadeCardiff Queens Arcade, Queens Street, Cardiff CF10 2BY arcadecardiff.co.uk
Opening Night:18th April 2018 from 6pm-8pm
The exhibition continues from Thursday 19th April until Saturday 5th May
It is open Wednesdays to Saturdays 12:30-5:30
The Gallery ArcadeCardiff is situated within the Queens Arcade shopping centre, the Gallery space opened in 2011 and aims to provide a place for upcoming and established artists to experiment, test out ideas or show new work.
The latest exhibition by Penny D Jones brought together her two interests, women’s voices and the Welsh language. The exhibition was a feast for the senses, with a textured quilt and tactile ceramic work which played a recording of Welsh women speaking in Welsh.
Penny wanted this exhibition to be inclusive and accessible for visually impaired and blind people, this was done well as the exhibition was enjoyed through touch and sound. The pieces of art were all black so worked a little as a leveller for sighted people and people with visual impairments.
One of the pieces had no sound so you were able interpret from it what it made you feel. I have to say this was my favourite piece as I am not a Welsh speaker, however, Penny was on hand to interpret for the other pieces.
This is the first accessible exhibition I have visited, it has my wetted my appetite to find more exhibitions like this.
Albany Gallery really is a hidden gem of Cardiff. Situated on Albany Road, their latest exhibition featuring the stunning landscapes of Wales transported me from the hustle and bustle of inner city Cardiff to the mountainous landscapes of North Wales and the South Wales coastline.
David Barnes’s landscapes focus on the mountains of Snowdonia, along with the North Wales coast line and Anglesey. Barnes’s landscapes are stylised, placing domestic situations within the rugged beauty of North Wales. Texture is a large component in Barnes’s work, further complementing the rugged nature of the mountainous landscapes. However, Barnes places importance on the domestic landscape also. The soulful and characterful depiction of the home within Barnes’s work contrasts well with the natural surroundings. Indeed, my favourite work of the entire exhibition was ‘Snowdonian Winter’, depicting the comfort of the domestic sphere in contrast to the harshness of the natural world.
Loch Broom / 14x20ins / David Barnes
Similarly to Barnes, Pritchard Jones’s work focuses on the mountainous landscapes of North Wales. The striking landscapes are impressive in scale and a comprised of layered, neutral toned, indistinguishable thick brush strokes. When viewed from a distance the brush strokes inhabit a wild and imposing landscape. Pritchard Jones achieves the delicate balance of presenting a recognisable welsh mountainous landscape, whilst also injecting a feeling of wilderness in the pieces. The depiction of rock and reflection along with the use of shadow gives the work an atmosphere of the untamed.
Cwm Idwal / 60x60cm / Alun Pritchard Jones
In contrast to the work of Barnes and Pritchard Jones, Yardley’s work focuses on the natural landscape of South Wales. Yardley’s landscapes focus on close up depictions of sea and woodland landscapes. These pieces are far less stylised than the other artists, exhibiting delicate brush strokes, dappled with delicate greens and blues. Yardley’s work is underscored by a multitude of both tone and texture, with complements the wild aspect of nature, but also the beauty of the natural world.
Warm Afternoon / 50×50 / Stephen Yardley
To find out more about the exhibition you can visit The Albany Gallery website here:
Firstly, a massive thank you to YANC and Get the Chance for the opportunity to be part of this event. Ground breaking engagements are being made by YANC with a diverse scope of arts practitioners and young people of today pushing boundaries in delivering up to date masterclasses, whilst providing and facilitating the relaxed and required networking opportunities. I loved the fact that YANC seemed to be almost inclusively driven by what the Youth want out of these sorts of occasions, with lots of brain storming and idea throwing activities around.
As soon as, I walked in, I was greeted by Sarah Jones, YANC network’s Chair and artistic director for Mess Up the Mess. Sarah kindly told me exactly what was going on and where. A welcome pack was provided in English and Welsh, this included the days schedule where you would choose what masterclasses you wanted to attend which was also sent by email prior, a feedback pull-out, a substantial list of delegates names, company and their email was provided (invaluable data!), when your wish to pursue contact with people that you have met. This handy touch further enables the networking continuing process, after the event, something that is sometimes missed at previous events similar to YANC’s.
The types of delegate in attendance
There were various freelancer’s in attendance, dramaturgs’ and performers’ from many companies and practitioners, many having toured throughout the UK, ladies from SPARC theatre and Valley Kids, Various personnel from Mess up the Mess Theatre, tutors from CAVC and RCT, Flossy and Bo, Opera Sonic, Rawfest, Ethnic minorities and youth support, Team Wales (EYST), Narbeth Youth Theatre, Wales Millennium Centre, 20 stories High, Circus practitioners, Theatre Na nOg, Jukebox collective, Young Identity, Common Wealth theatre, and Paper trail.
I especially enjoyed my chats with a young man called EZ Rah, a Cardiff based Mike Controller, who has recently won an award for his contribution in attendance at Jason Camilleri’s Radio Platform held at the Millennium Centre and that was launched last year. It was also good to see, such a myriad of people from all over Wales and even outside of Wales enjoying and interacting creatively.
Young Identity is Led by outstanding facilitators, versatile poets and established spoken word performers. Shirley A May @thegirldreams is one of the founders of Young Identity, someone who I found talks deeply from the heart.
It was herself, her daughter, practitioner and spoken word artist Nicole May and Reece Williams, an artist development advocate and one of BBC1 Extras Words First Finalists, that delivered to the group.
The session starts with interactive word, action and mind play. “Hulla hulla Dance, Dance – Hoop, Dance. It was extremely interactive with competitions from the offset. After all that dancing about and whilst our adrenaline was pumping, they asked us to talk about our life stories. They used their own life experiences to encourage people talk about theirs. “Today I was feeling” and you were then asked to write for 5 minutes about this. Some were spoken aloud, then significant sentences were drawn out, through a thought provoking process they taught. “Cloudy with a chance of rain” and, “I often get nervous around people, but I love them”, were proudly spoken by others. Many other practical skills and ways of creating structured poems in the conventional and un-conventional ways were explored and I ended up coming away feeling I could literally carry on with the process they taught and explore the whole concept a lot more having been in attendance.
Shirley May talked about visiting Picasso’s house in Malaga and the journey that Picasso took to get to the end art product and breaking form. She said Art; whether, it’s in written form or whether its structured to everyone’s approval or not, it is about developing but not discarding the old forms and the characterized elements like rhyme, line length, and metrical pattern.
Young Identity encouraged participants to always read; whatever that may be. To push yourself to overcome barriers, stance and with practice how, power can come through your body. The no disclaimer policy whereby you are not allowed to say anything to support or condemn your own words before talking. This is great because it encourages equal levels when delivering this art form. Another thought concept noted, “Is it even a poem, if we cannot hear you speak it?” Reece Williams told us that we could click our fingers also known as snapping, instead of clapping our appraisals and that this is becoming more and more popular in today’s culture.
Young Identity is part of the Frankfurt International school, but sadly has had their funding cut recently from the government. For me an absolute shame, as the work they are doing as like YANC and Common Wealth Theatre needs to be done.
Common Wealth Theatre
Common Wealth make site-specific and award-winning theatre events that encompass electronic sound, new writing, visual design and verbatim. Their work is political and contemporary – based in the present day – the here and now. Described by Lyn Gardner from the Guardian, “a company that bursts open our consciousness”, a statement, I wholly agree with.
Facilitating this event was the absolute amazing Rhiannon White. Rhiannon is the co-founder and co-artistic director of Common Wealth and a Cardiff local. I received an outstanding energy from Rhiannon and the depth of her work is liberating. This part of the day is where I felt I was intensively challenged positively, enforcing collectiveness and the freedom of individual thought. Rhiannon did this well, by firstly asking us to speak to people and tell them random things about yourself, what we are most proud of etc. Before I knew it there was fully grown and smaller humans of all walks of life, dancing around imitating Body Builders, their Fathers after a few, and people in-love.!
It was hilarious, but a respected art form at the same time. Jumping back into the thought pool you were asked to write down three things to do with each thought induced subject. The subjective answers of individuals were then placed into a centred bundle, we talked about these, using different forms of expression, whether voice, movement or complete silence. The range of ways that you could respond in felt like art in present and was moving, emotional and sometimes philosophical.
Rhiannon talked about her projects, what she feels about theatre and how we can all be a part of it. WOW is a festival that celebrates the achievements of woman and girls, also looking at the obstacles woman face across the world. They are holding think in sessions and big public planning meetings starting Wednesday 2nd May at Butetown community centre and around Cardiff at various locations over the period of four days. I would highly recommend attending one of these sessions, which are open to everyone, woman, men, girls and boys.
Last but not least
The YANC Meeting
The very important YANC meeting took place, minutes were provided and accounts. Why did this happen at the networking event? I was thinking this at first then it come to me. If you are going to buy a membership and invest in this group, then surely you would want to know where the money is going? It was a brilliant way of demonstrating just how much work and support is provided. Also, how most of the work done is voluntary, reflecting just how much this group wants to help the youth sector. There is to be a lot of role swapping and the inclusion of new people this year which is hoped to bring for new and exciting projects. YANC will be supporting RawFfest this year and planning more Casgliad events.
I need to be honest and give you how I saw attending this event from my very personal view. I had been looking forward to this event for weeks, but I suffer with acute anxiety. My anxiety stopped me from attending the first day as I hadn’t been to this sort of event for some time, I felt I was totally out of the loop, but with help from the fantastic Guy O’Donnell, I attended Sunday and I am elated from the experience. My barriers were instantly broken down, I was enjoying myself, learning, laughing, meeting new people and wondering why the heck I was scared to go in the first place. So, If you are reading this and you too, have anxiety, about these sorts of events, then get in touch with YANC because these meetings are so inclusive, down to earth and real in approach you will worry about nothing and instead be in one creative bubble to the next. They also offer support and membership through email and social media interaction and one to one meets if necessary as well as these fabulous events.
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.