Hi Adele, great to meet you, can you give our readers some background information on yourself please?
I am a theatre and opera director. I am from Port Talbot originally and live in Cardiff now. I’m about to make my Royal Opera House debut with Handel’s Berenice.
This chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
I am obsessively listening to Berenice as I’m about to direct it! So my iPod is pretty much given over to that and to some of Handel’s other operas. It’s good to get a sense of where this piece fits into his wider body of work.
But the latest thing that I saw and was blown away by was a gig by Hen Ogledd. Their album, Mogic, has just come out and it’s just sensational. I’m a vinyl lover, so I’ll be listening to it on the record player!
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why? 1
Magical Mystery Tour – The Beatles
I’m going to immediately preface this by saying that this is by no means The Beatles’ best album (for me, that’s Revolver) but it is the one that changed my life. I was struggling to fit in in my teens in a world of grey concrete and everyone in head to toe adidas block colour tracksuit and gangster rap. After one very late night of underage drinking, a friend took me back to his house and said “check this out”. He put the film of Magical Mystery Tour on and immediately my entire world opened up. The colour, the surreality, the clothes and, of course, the music! I became obsessed with the backwards tapeloops, the kaleidoscope camera, the technicolour kaftans. I binned the tracksuit and immediately became a 60s throwback. That one encounter opened up everything to me: art, counter culture, the music scene, a whole world of new friends. And I can still quote that film word for word.
His ‘N’ Hers – Pulp
When my school mates did all start listening to Oasis and Blur I was firmly in the 3rd camp: I was a massive Pulp fan. Different Class is the album that cemented them as working class hero for the wierdo amongst us, and This is Hardcore saw them reach the pinnacle of their orchestral ambition, but His ‘N’ Hers is my favourite. It captures something very real about being an outsider in the 90s: when charity shops were packed full of incredible 60s clothing for pennies, the seedy glamour of the beachside dirty weekend B n Bs along Mumbles road, sticky indie clubs and lager and lime. It’s an album that celebrates the trashy, sexy, the working class. Jarvis Cocker is still my hero and nothing makes me dance and cry at the same time like “Do you Remember the First time”.
Work and Non-Work – Broadcast
I wrestled between this and Dots and Loops by Stereolab (which is a masterpiece) but Broadcast just pips them for me. Warp records seemed to be the coolest thing on the planet, and Broadcast’s music touched a nostalgic nerve for a period I didn’t even know. Their music seemed to be the subconscious by product of an alternative past: the mulch creepiness of Dario Argento’s fits, the sun saturated photography, the trippy wierdness of Public Information films. This album is incredibly beautiful and cinematic: every song on it lends itself to a film that has never been made. And perhaps the thing that pushes Broadcast’s work up the list for me is the tragic death of their singer and heart of the group Trish Keenan. She was a fashion icon and a poetic mind who went too soon.
The Hissing of Summer Lawns – Joni Mitchell
One night my boyfriend and I were driving very late down a pitch Black Country lane and we were listening to a radio show of Prince’s favourite songs. Suddenly this piece came on and it was so overwhelmingly beautiful, so totally perfect that we had to stop the car and just sit there in the dark listening. That song was Edith and the Kingpin from this strange and haunting album by the one and only Joni Mitchell. Poetically, every listen glistens with new meaning and her use of language is so incredible. “The helicopter lands on the Pan Am roof/ Like a dragonfly on a tomb”. Exquisite. Especially coming at you through that pure voice.
Wozzeck – Berg
I discovered that I wanted to direct for stage when I sat down and watched Richard Jones’s production of Berg’s complex and terrifyingly hard opera based on the Buchner play. That production tore away any concepts I had of what theatre could be. The world on stage was so strange, so complete, and the performers were incredible musicians and amazing actors (Christopher Purves’ performance in that was one of immense human detail. All while singing some of the hardest music you’ve every heard over a full orchestra). Now I’m finally directing opera, this production is still the benchmark for me of what can be achieved. It’s really worth listening to: yes the music’s complex, but the tragedy of the story is brilliantly served here. Please note the version Adele describes is not available online. Instead we present The Hamburg Philharmonic State Orchestra, The Chorus of the Hamburg State Opera, Conducted by Bruno Maderna, Directed for television by Joachim Hess. Set design: Herbert Kirchhoff Costumes: Helmut Jürgens Recorded 1970, Hamburg State Opera.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
I’m going to chose Babies from His N’ Hers because I think it shows how complex pop music can be. Melancholic, strangely profound: it captures the sense of teenage boredom on a rainy Tuesday evening between school and… But it also never fails to get everyone on the dance floor, and it builds into a euphoric, semi-spiritual exorcism of raw sexuality and kitchen sink drama. I can’t listen to this without dancing!
Hi Lleucu great to meet you, can you give our readers some background information on yourself please?
I was raised in Talgarreg, Ceredigion and went to Ysgol Dyffryn Teifi in Llandysul. While still at school my friends and I set up the Welsh-language rock festival, Roc y Cnapan, in Ffostrasol. We had amazing bands such as Y Cyrff (who later became Catatonia), Ffa Coffi Pawb (later, Super Furry Animals), Crumblowers, Cerrig Melys and Datblygu playing in front of thousands of young people who came to the festival from all over Wales. After school I travelled around South America for a while and studied English literature at New College, Oxford. After working at various media and arts companies I ended up where I am now in Literature Wales. Poetry, spoken word and hip-hop have always inspired me, and I love the way these genres have developed and intersected over the years.
This chat is
specifically about music and the role it has played in your personal and
professional life. Firstly to start off what are you currently listening to?
These days I’m enjoying listening to Kendrick Lamar, Cardi B, Stormzy, Dave (the young political rapper from London. Check out his song Question Time) – exciting music with a message and an edge.
There’s also a lot of great music coming from Wales, such as Los Blancos, Adwaith, Y Pencadlys. And Olion by Mr has been playing endlessly in our house for the last couple of months.
We are interviewing a
range of people about their own musical inspiration, can you list 5
records/albums which have a personal resonance to you and why?
1 Velvet Underground & Nico – a funny, louche and weird album with surprisingly catchy songs. I listened to it a lot as a teenager (and still do), and it made me fantasise about moving to New York, wear black and live in a loft.
2 Ride On by Christy Moore – my friends and family can vouch that this gets played a lot in our house and I know every single word to every song. His voice is hauntingly beautiful.
3 It Takes a Nation of Millions to Hold Us Back by Public Enemy – extremely influential album when I was younger and the band still sounds as fresh and urgent now. I saw them play at the Tramshed a couple of years ago and they were amazing.
4 Libertino by Datblygu – without a doubt the most influential and exciting band ever in the Welsh-language, if not in any language. The combination of the musical genius of Patricia Morgan and the poetic desolation of Dave R Edwards makes any of Datblygu’s albums worthy of intense listening.
5 Gold: Greatest Hits by ABBA – dancing round the kitchen to ABBA songs is a tradition I’ve proudly passed on to my children. Fun, classy, catchy, genius pop disco tunes which should be part of everybody’s lives.
Just to put you on the spot could you choose
one track from the five listed above and tell us why you have chosen this?
A toss-up between Cân i Gymru from Libertino by Datblygu and Dancing Queen by ABBA. Or perhaps Ride On by Christy Moore, or Don’t Believe the Hype by Public Enemy. I really can’t choose!L
In the article below a range of Welsh and Wales based creatives share with us a selection of cultural events they are looking forward to this year. Thanks to all of our contributors.
Connor Allen, Writer and Actor.
My cultural highlights for 2019 would have to include Betrayal at the Harold Pinter Theatre starring Tom Hiddleston and Charlie Cox. One of my favourite Pinter plays and one hell of a cast, so it should be great!
Another one I’m ecstatic for is Tree by Idris Elba and Kwame Kwei-Armah at the Manchester International Festival. The vision of both those artists is nothing short of superb so we are in for a treat whatever they create.
And speaking of the Manchester International Festival Skepta is doing an immersive experience called Dystopia987 and even if you’re not a lover of grime I can bet that it’ll be worth the watch.
Closer to home in Wales I’m looking forward to Mathew Bourne’s Romeo & Juliet coming to the Wales Millennium Centre as previous productions from Mr Bourne have been astounding in terms of choreography and storytelling so I am very much looking forward to his take on Romeo & Juliet.
Also I’m very eager to watch Tigerface by Justin Cliffe at The OtherRoom in Cardiff. I’ve no doubt that it will be an awesome piece and being that I missed previous sharing’s of it I am excited to see the piece in its entirety.
A personal hope of mine for 2019 is that more people and companies are taking risks, especially with minority groups. We’ve played it safe for many years now. Let’s shake it up. And also accepting other people’s views even if they are different from our own. We all come from different walks of life and with that we bring different views and opinions. Let’s show compassion and accept or at least acknowledge other people’s views. We can all learn and grow from each other.
Meredydd Barker, Playwright.
From the 14thof June to the 10thof November, Tate Liverpool is hosting the first, major UK exhibition of artist and activist Keith Haring. Because his work decorates T-shirts and tea towels it tends to be forgotten how subversive he was. This is a superb opportunity to be reminded of how urgent his response was to issues such political dictatorship, racism, homophobia, drug addiction, capitalism and the environment. He died 28 years ago but is as relevant as he’s ever been.
It didn’t happen last year but I will get to see The Idles live this year; I will, I will, I will…
If I make it, I will be 50 in September and hope to be in Chicago to celebrate. There’ll be a World Music Festival on at the time – think Llangollen International Musical Eisteddfod, but in Chicago – so I’ll dip in and out of that while going to as many shows, plays, bars as I can. Nothing planned for definite, but I think just going to Chicago – and New York beforehand – counts as a cultural event.
I’ve just bought tickets to see Ruby Wax – How to be Human: The Show, “answers every question you’ve ever had about evolution, thoughts, emotions, the body, addictions, relationships, sex, kids, the future and compassion.” I think she’s astonishing, one of the great documentary makers of our time and times.
I always promise myself that I’ll go the Machynlleth Comedy Festival and it never happens, but I am going to make a super-human effort to get there this year.
As for me I’m writing a play called The Huntsman for the brilliant Torch Theatre in Milford Haven. It’s pencilled in for perfomances this Autumn. I’m piecing together the first draft as I write. I have to remind myself to breathe as I do so. It’s about Pembrokeshire when serial killer John Cooper was at large. And along with a brilliant film-maker called Nick Swannell I’ve just begun the process of starting a film company called The Holding Cell. I’m very excited about that indeed.
Be Excited. Be Bold. Be Kind. That, I hope, will be the themes for this year, and these horribly uncertain times.
Mawgaine Tarrant-Cornish, Casting Associate, National Theatre Wales.
First up I’m excited about BLUE, a new play by Rhys Warrington which has a stellar cast. It’s at Chapter from next week.
At NTW, I’ve been working with Mike Brookes to cast STORM 3: TOGETHER AND ALONE and I can’t wait to see these performers together on stage in March. They’ll be taking over a venue in Newport with this experimental show about how we figure out our place in the world.
Also in March, NEW, from Royal Welsh College of Music and Drama, will hit the Sherman Theatre. It’s your chance to catch this year’s graduating actors collaborating on four brand new plays by up and coming British playwrights. For Wales’ offering, Hannah Noone will direct Jacob Hodgkinson’s BETWEEN ETERNITY AND TIME.
As part of Diffusion 2019, in April, Matt Wright and Janire Najera will create an immersive visual score for JUNIPER, Slowly Rolling Camera’s latest album, which they’ll play live.
At National Museum Wales, the Women in Focus exhibition
continues into June. Part One introduced me to Charlotte James and her Ffasiwn Project with Clémentine
Schneidermann so I’m looking forward to discovering many a new girl crush
in Part Two: Women in Front of the Lens.
I’d love to see DYSTOPIA987 by Skepta at MIF this summer and there’ll be loads more to get excited about in that programme, I’m sure.
Artes Mundi Tour with John Wilson. I have been campaigning for many years to try and get John Wilson to curate and lead a BSL tour at one of our brilliant museums/galleries. John is one of the most experienced Deaf curators in the UK and for him to come to Wales to led the Artes Mundi exhibition at the National Museum, Cardiff was fantastic!
The event took place two weeks ago and sold out pretty quickly. My background and passion is visual arts and to see this happening in Wales was a personal dream for me. I have been to hundreds of exhibition tours and I usually only understand about 20/30% of what is spoken, for this tour I understood 100%.
I think having a Deaf curator makes a bigger impact because of the language they use and it resonated with a Deaf audience. There was a real mixture of people in attendance; some have never been to a museum before, some attending liked Art but have limited opportunities to see an accessible tour, some just wanted to see John. The feedback was really positive and I hope to bring John back more for more BSL tours in other museums around Wales. You can read and exclusive interview with John and Jonny about this event here.
Mr and Mrs Clark ‘Louder Is Not Always Clearer’. I might be biased because I am involved in this but it is going on another tour from May to June then will be heading for a month at the Edinburgh Fringe at the Summerhall. Louder Is Not Always Clearer has also been selected for the national rural touring and will be visiting rural communities in the UK. Exciting times and we are looking forward seeing wider and more diverse audiences!
Cardiff Deaf Centre Arts Festival – After it’s success 5 years ago for young deaf people, it is back again in April at the WMC with a range of exciting Deaf artists running workshops.
Hijinx and Frantic Assembly ‘Into the Light” at Sherman Theatre. Always exciting to watch both organisations but to see the two combined… wow!- I am looking forward to see more disabled-led events in 2019. Kaite O’Rieily’s ‘Peeling’ directed by Taking Flight looks interesting as well as the brilliant Graeae’s new production of Sarah Kane’s ‘Blasted’. I am very excited to hear Deafinitely Theatre are creating their version of ‘Horrible Histories’ called ‘Dreadful Deaf’ which is going to be touring later in the year. I am really excited to see what Paula Garfield (Director of Deafinitaly Theatre) is going to do with this. I am sure it will be fun, visual, accessible and mad!
I am also hoping to see Extraordinary Bodies new fully inclusive outdoor touring show ‘What I am Worth’. British Paraorchestra’s ‘Nature Of Why’ is touring and will be coming to WMC. They are the world’s only large-scale ensemble for professional disabled musicians so I am very excited they are coming to Wales.- I have been looking at festivals where we can take our 2 year old daughter along so we are going to head back to the Blue Lagoon Festival in West Wales which we have been many times and its brilliant. We are also thinking (if i can get tickets) of going to the Just So Festival because it looks amazing. I have never been to the Machynlleth Festival so I have made sure it is on my list to visit this year.
Branwen Davies, Writer.
My cultural delights or highlights for 2019? I’m still recovering from the cultural smorgasbord of 2018! The end of the year in particular was a whirlwind of exciting and engaging work that inspired and moved me. I’m still discussing and thinking about some of my favourites – Clean Break’s ‘Thick as Thieves’ at Theatr Clwyd, John Rea’s ‘Atgyfodi’ at Sain Ffagan, the Sherman’s production of Meic Povey’s ‘Fel Anifail,’ good cop, bad cop’s ‘Phantom Rides Again’ at Chapter and Theatr Genedlaethol Cymru’s verbatim musical ‘Nyrsys.’
Other theatre productions I don’t want to miss this year are Fran Wen’s powerful one woman show ‘Anweledig.’ Be Aware’s Turkish/Welsh production ‘Y Brain/Kargalar.’Cwmni Pluen’s ‘Woof’ and Ed Thomas’s new play ‘On Bear Ridge’ (a co-production between NTW and the Royal Court). As one of the Dirty Protest gang I’m excited that we have a new production touring in the spring. Sian Owen’s one woman show ‘How To Be Brave’ is set in Newport and is a love story to the city. On the art front I’m intrigued to see the work on show and the work being developed at Shift and Rugart/Celfryg and the possibilities of these contemporary art spaces at the Capitol Shopping Centre on Queen Street. Another highlight I’m looking forward to is London Sinfonietta Synergy Vocals at St David’s Hall (Steve Reich being hailed as one of ‘the most original music thinkers of our time’)
I want to enjoy more live music this year. I just hope there will still be vibrant and individual venues left to be able to do so. I’m heartbroken that Buffalo and Gwdihw in Cardiff have been forced to close down.
I recently saw Cate Le Bon at The Gate, Lleuwen is performing a series of acoustic gigs in chapels across Wales following the release of her new album ‘Gwn Glân Beibl Budr,’ and Mr (Mark Roberts + Band) is also touring. I love his first solo album, Oesoedd.
My personal hope is to collaborate more with different artists who work differently to me and to have more creative discussions. I’m keen to work more with music and sound and challenge the way I write and create. I’m also keen to explore the possibilities of political plays in Wales. Where are our political plays especially in the current political turmoil we’re facing in Wales and beyond?
Peter Doran, Artistic Director, Torch Theatre.
2019 will start with a theatrical explosion for me, I’ve booked for Wise Children, the first production of Emma Rice’s new company at Bristol Old Vic. Emma Rice is one of the most exciting directors in the UK, her work with Kneehigh was phenomenal. I directed Brief Encounter at the Torch a couple of years ago, unashamedly based on her production with Kneehigh and was probably one of the highlights of my career as a director. Wise Children, I’m told has all the hallmarks of a knee-high production and with two fantastic Welsh actors in the cast, Katy Owen and Gareth Snook and no bridge tolls to pay, this will be a cracking start to the year.
Laura Penneycard and Liam Tobin in Torch Theatre production of Brief Encounter by Emma Rice.
From a Torch perspective, we have Grav back for it’s fifth tour, it’s now like welcoming an old friend back to the theatre; staff, audiences, they all love Grav, it creates such a great atmosphere in the theatre; it’ll be great having him back at the Torch and to take him to London for a short run at the Hope Theatre in Islington! Who would’ve thought that a play about a boy from Mynedd y Garreg would perform in New York, Washington DC and London all in the space of twelve months.
Gareth Ford Elliot, Get the Chance critic and playwright.
My personal highlights of what I’m looking forward to are the Cardiff Fringe Theatre Festival and The Other Room’s Spring Fringe. It will be excellent to see so much work in the first half of the year in Cardiff.
As for specific projects, Spilt Milk’s ‘Five Green Bottles’ by Joe Wiltshire-Smith looks to be an absolute hit. It was a brilliant show at last year’s Cardiff Fringe and to see it with a few extra months work and some changes is a very exciting prospect. Wiltshire-Smith is one of the upcoming Cardiff-based writers and working with Spilt Milk who have contributed so much to Cardiff’s arts scene in the last two years is a combination not to be missed.
David Evans, Head of Production, National Theatre Wales.
I am intrigued to see the The Mirror Crack’d – the WMC’s Co-Production with Wiltshire Creative that will be on at The New Theatre, Cardiff. Agatha Christie shows have been the staple of mid scale touring for years, populated by people “off the telly” in the twilight of their careers. But this is apparently a completely new take on the hoary old country house murders and I am fascinated to see what they have done.
After “Now the Hero” I am eager to see anything that Marc Rees is up to, I don’t know what his plans for 2019 are but whatever they are I will be there.
Matthew Gough, Faculty of Creative Industries, USW, Senior Lecturer Dance
I’ve been looking forward to 2019 for some time, it will bring the first graduates from BA Hons Dance, at the University of South Wales. Some 20 years after my own graduation I will be watching our students with pride as they present their dissertations (March), Perform at MAP festival, and Agor Drysau (March), a repertoire night with work from Wales based choreographers (April), and our end of semester performances at Dance House Cardiff (April, & May). National Dance Company of Wales, and Groundwork Pro are both in a period of new leadership and their plans for future delivery are exciting and progressive. A number of dance artists have (re)established themselves in Wales and, the sector will benefit from the diverse perspectives, and experience they bring. Cardiff Dance Festival always brings a richly curated, international focus to the sector, and I anticipate the next edition will bring more dance delights (November). Overall I look forwards to the Welsh dance sector, adapting, reimagining, and revitalising itself depicts the challenges, and uncertainty that we know 2019 will bring.
Rebecca Jane Hammond, Artistic Director Chippy Lane.
I think topping ‘2018’ will be difficult as there was so much work of great quality being developed and produced. New companies thriving, venues reaching wider audiences and winning awards and most importantly the community rallying together to ensure our work is met with joy and love and great support for one another.
My cultural highlight for 2019: NEW: 2019, Between Eternity and Time Written by our Jacob Hodgkinson, directed by Hannah Noone, commissioned by Royal Welsh College of Music & Drama and Sherman Theatre “I am beyond excited to see this team of collaborators working together and Jacob’s writing getting the recognition it so deeply deserves in Cardiff and London.”
19 – 21 Mar, Royal Welsh College of Music and Drama 2 – 5 Apr, The Gate Theatre, Notting Hill, London
As for our own cultural highlight it’s important I mention BLUE, Chippy Lane’s second production and first foray into new writing. Boasting an authentic Welsh and Wales-based creative team and published by Methuen Drama (Bloomsbury Publishing). This is an enormous achievement for a company not yet three years old. We will also continue our other projects and initiatives by producing more of Chippy Lane’s Podcast and running our Welsh Female Writers Group. We hope you can continue to support us as we continue to create great theatre and provide opportunity.
Paul Jenkins, Theatre Director/Dramaturg/Writer.
I’m looking forward to new plays from Elgan Rhys & Ed Thomas. Woof, directed by Gethin Evans, is first up at The Sherman and is sure to be a theatrical force from the creative force from the creative team behind Mags last year. Then the brilliant Ed Thomas, whose gritty surrealism defined Welsh theatre in the 90s makes a welcome return with NTW. On a personal note I’ve been inspired by the locals of Taibach while recording responses to the Banksy that appeared over Xmas. This street art asks difficult questions about the economic foundations of Port Talbot and yet has been embraced by the entire community. Freelance theatre-makers like myself rely on the big producing theatres to pick up exciting ideas & support emerging talent, so I’m very much hoping the Banksy story will find a good home and become an essential highlight of 2019.
Zosia Jo, Dance Artist.
Most of the things I am looking forward to in 2019 are still awaiting their funding! Cardiff Dance Festival for example, and my own production- Songs for the Body- which will be a promenade live action concept album with dance, music and spoken word taking over Chapter in October half term.
However one thing that is confirmed is Groundwork Pro’s funding and they will be offering workshops, events, classes and residencies for dance and movement artists throughout 2019. There will be so much opportunity for discussion, training, sharing and professional development. I am really excited to be part of it.
Angharad Lee, Director.
Firstly, I am looking forward to seeing Hadestow which tells a version of the ancient Greek myth of Orpheus and Eurydice, a musical adaptation of the folk Opera concept album by Anais Mitchell.
I am silly excited about attending an intimate evening with Stephen Schwarts in Manchester. It’s the first he has done in the UK. I am thrilled to see Wales Millennium Centre devote their Curious Season to mental health later in the year and can’t wait to see what’s in store there. Draw Me Close at the Young Vic looks fascinating also.
Having had a frantic year last year, most of my own creative enegrgies this year are being ploughed into the new BA (Hons) in Musical Theatre Course which will be up and running this September. It’s the first ever undergraduate course in Musical Theatre in Wales and am delighted to be a part of it. Details here,get in touch if you think you would like to apply and come and chat .
In the meantime I am directing Pippin by Stephen Schwartz and The World Goes ‘Round, both with the fabulous students at Canolfan Berfformio Cymru, UWTSD. Leeway Productons’ 10 Minute Musicals will be rolled out again a little later in the year with some fabulous partners including RCT Theatres who work so hard as a team. We are also thrilled to be working on a lovely Welsh Language production with some young people from Merthyr in the Summer. Hopefully, this year will feel a little more relaxed than last year!
David Mercatali, Director.
My highlight of the year ahead is to see the continued development of the 15-18 year olds in my Introduction to Playwriting group at the Sherman Theatre. Mentored by 3 brilliant writers, Matt Hartley, Branwen Davies and Brad Birch, their work is already showing so much talent and I can’t wait to see what they do this year. My personal hope is to see more new plays produced for longer runs in Wales. There’s many exciting voices with stories to tell.
Rachel Pedley Millar, Artistic Director, Avant Cymru.
Happy 2019 everyone. Avant have an important year lined up, where we have a focus on mental health and well-being. Our Hip Hop theatre piece has a focus on mental health and we hope to head to New York to attend the Hip Hop for metal health conference held by Doug E Fresh and partners. We aim to undertake research on ‘how art can aid those living with mental health conditions?’ Working with other artists (including Sadlers Wells) and our community in RCT.
The Valleys have a celebrity year with it being 80 years since Llewellyn wrote ‘How Green Is My Valley’, we want to find out ‘How Green is Our Valley Now? We are always interested in what everyone in our community has to say. Including other artist and we hear Motherlode have exciting plans this year and we can’t wait to hear more about them.
Have a happy, healthy New year everyone. “For all sad words of mouth or pen, the saddest are these: it might have been.” – John Whittier.
Fearghus Ó Conchúir, Artistic Director, National Dance Company Wales.
As a newcomer to Wales, there’s a lot for me to learn about, lots to see. Starting closest to home, some of the events I already know I’m looking forward are in our varied activity at NDCWales: our Awakeningprogramme that tours Wales and England in the Spring with magical new work by Brazilian choreographer, Fernando Melo and by our resident choreographer, Caroline Finn, as well as the Roots programme that will tour across Wales in the Autumn with pieces by new choreographic talent.
As a recently-arrived Artistic Director, I’m mostly at a stage where I get to be an excited cheerleader for other people’s work in our programmes, but I’m also happy that in 2019, I’ll get to make work myself, with the company’s professional dancers, with other artists and with different groups across Wales who will all inform the new piece. I knew about Cardiff Dance Festival before I came here, and I’m looking forward to seeing what’s in this year’s programme. And one more dance highlight for me will be the BBC’s #DancePassion on 5th April when the BBC’s social media channels will showcase dance in the UK, with livestreaming (including from NDCWales) and the chance for audiences to interact. I’m looking forward to seeing the diversity of dance that this event will bring to the BBC’s wide public.
Because I’m interested in what bodies get to be visible and to fulfil their potential, I’m inspired by work that shows me what’s possible and pushes me to expand my vision. For that reason, Mission Control, NTW’s collaboration with Hijinx that will be performed in November is something for me to look forward to with its cast of professional neurodivergent and learning-disabled actors as well as members of the Only Boys Aloud choirs. I won’t get to see Splish Splash, the NTW collaboration with Oily Cart that’s made exclusively for children in special schools across Wales and England, but I love that it’s going on and that it’s going to be a cultural highlight for people who mightn’t be included in other events.
Jasmine Okai, Assistant Producer, Fio.
Fio: Futures’ production of Bertolt Brecht’s ‘Fear and Misery of the Third Reich’ showcasing in RawFfest April 2019. This timeless story of the rise of fascism is unfortunately still as pertinent today as it was in the 1940s. Brecht’s play presents a series of vignettes on the everyday lives of German citizens, including Jewish people, living under this oppressive regime of Nazi fascism during World War II. After the success of ‘The Island’ UK tour in October 2018, Fio have since established Fio’s Young Company, Fio: Futures, who will be bringing these important stories to the stage.
William Shakespeare’s ‘The Taming of the Shrew’, as reimagined by Jo Clifford. Shakespeare productions are a classic and, some would argue, integral faction of theatre. What makes this production so exciting is that while keeping the main story of ‘The Taming of the Shrew’, Jo Clifford uses gender reversal within the main characters to switch up the dynamics of the play. How refreshing!
Catherine Paskell, Theatre Director.
Believe. If I Could Turn Back Time. Just Like Jesse James. Gypsies Tramps and Thieves. Bang Bang. I can’t wait to see Cher’s concert. Her tour in October 2019 will be her first live UK dates in 14 years. Her songs, her films, her outfits, her political activism, her Twitter feed. Her music video for If I Could Turn Back Time was too much even for MTV because we could see her tattooed bum cheeks either side of her thong as she straddled that cannon and strutted in front of the navy – so it was the first video to be banned by the channel. Cher’s career and musical evolution embodies the transitions of American cultural forms. She is outspoken, honest and authentic as an older woman in a male-dominated field. It’s going to be an ambitious, theatrical and entertaining show – Cher is my cultural highlight of 2019.
Films – Toy Story 4, and Star Wars IX. I mean, do I need to justify those? Reuben Ostlund’s Triangle of Sadness starts shooting 2019 but I’m not sure it’ll be released.
Theatre – Richard III by Headlong will be brilliant. And it’s great that Ed Thomas has taken a break from counting money to write another play so I’m excited about ‘On Bear Ridge’ by National Theatre Wales. Berberian Sound Studio created by designer Tom Scutt and playwright Joel Horwood at the Donmar warehouse. Home, I’m Darling at Theatre Clwyd, I missed it first time around. The Funeral Director by Imam Qureshi won the Papatango Competition this year and is being toured by ETC. Nos Sadwrn O Hyd by Roger Williams is a brilliant monologue revived in Welsh for the first time by Theatr Gen.
TV – What We Do In The Shadows has been turned into a TV show released in 2019. I’m also super excited about Jordan Peele’s Twilight Zone, and a new True Detective series. Channel 4 have produced a new 4 parter from Lucy Kirkwood about the porn industry called Adult Material, fellow Cynon Valley boy Gareth Evans has his first TV series out Gangs of London on HBO and Sky Atlantic.
Event – Blue Dot at Joddrell is a brilliant mix of science, astronomy big ideas and music – Gruff Rhys and Hot Chip play this year under the mighty Lovell Telescope. It looks amazing.
Catrin Rogers, Press and PR Manager, National Theatre Wales.
I’ve booked tickets to see WNO’s The Magic Flute, and I have high hopes for that. They’ve just announced their next season, including the return of Bryn Terfel, which is great.
I’ll try to catch at least one of Theatr Genedlaethol Cymru’s touring plays, by Catrin Dafydd and Roger Williams – two writers I admire very much – in the Spring.
I’ve also booked tickets to see National Dance Company Wales’ Spring tour, Awakening. It includes Tundra, which I’ve seen many times but never, ever tire of – honestly, it takes my breath away every time I see it.
In the coming weeks I’ll go with my family to catch the Artes Mundi Exhibition, which I’ve been reading a lot about.
2019 is set to be another fantastic year for the arts. Even though the production won’t be until 2020 I’m excited to see what project will be chosen from National Theatre Wales’ Radical Creatures callout, I think it’s a great initiative and a great choice for female identifying and non binary artists to take more of centre stage in the current arts scene.
From a more selfish point of view my theatre company, CB4 Theatre, will be presenting our inaugural production 10,316, a new devised piece marking the 30th anniversary of the fall of the Berlin Wall. We’re all so excited to get stuck in to the already thriving grassroots arts scene here in Cardiff, so watch this space for dates!
Aside from the arts, 2019 is definitely going to be a bumpy year. With Brexit looming and pressing social issues plaguing the country I really hope that art can do what it does best; listen, respond, discuss, create, inspire, protest. At a time where it’s easy to give into divisions I think it’s more important than ever for the arts world to take a strong stand against hatred and fascism.
Music-wise, I’ll keep my usual eye on Warp, Hyperdub, and Heavenly. Nubya Garcia is playing Clwb in May, so I’ll try to get down to see her. Mostly though I’ll still be dreaming of SFA making another album and hoping Doves get their arses in gear after the dates they’re playing.
In art, I’m looking forward to seeing how John Abell’s new place, RUG develops over the coming year. 2019 also looks like it’s going to be a brilliant year for new fiction, and the novel I’m most excited about is Niven Govinden’s ‘This Brutal House’, which has been described as a queer protest novel set in the drag ball community of New York City and, therefore, fierce as all fuck.
As far as theatre goes, How To Be Brave by Sîan Owen is coming via Dirty Protest and I am doubly excited to see this full scale show, especially as it is set in my adopted home of Newport and pitches up in the one and only Le Pub. As for my personal hopes: I just hope there is a miracle of some sort that puts a halt to the madness we can see coming our way, and Liverpool and Manchester City lose every game they play between now and the end of the season.
Abdul Shayek, Artistic Director Fio.
So for me, 2019 has started off with a bang- one of my cultural highlights has already happened, Sri Lanka and the Galle Literature Festival, where the amazing spoken word artist Nicole May performed! It also featured writers such as Sir David Hare, Mohammed Hanif and Vahni Capildeo amongst others who I had the pleasure of meeting. I was also lucky enough to find out about the amazing arts and cultural activities taking place across the South Asia region, supported or directly delivered by the British Council, as I joined their bi-annual Arts regional meeting, in my capacity as an Arts Advisor.
Personally, the next cultural highlight will be my trip to Australia as part of the British Council Australia Intersect Programme. It was brilliant when my counterparts came over to the UK, which included a visit to Cardiff in 2018. Now it’s the turn of the UK participants to visit Australia, learn and understand what the diversity and inclusion picture looks like. We will be visiting Sydney and Melbourne and meeting with a range of cultural leaders. We will also be part of the Fair Play Symposium
Other than that I have a number of other projects and ideas that are currently in motion, all very exciting and some have international elements to them, however, quite a few are funding dependent, so fingers and toes crossed. Other cultural highlights for me include: Manchester International Festival in general, but really looking forward to Trees by Idris Elba and Kwame Kwei-Armah and the collaboration between Flexn and Young Identity will be very exciting.
I am really looking forward to seeing King Hedley II at Theatre Royal Stratford East with Lenny Henry. In Wales, I am really looking forward to Rawffest and in Cardiff at the WMC, I am sure it will do what it was initially set up to do and really engage young people from a diverse range of backgrounds. I am also really looking forward to Mission Control the NTW and Hijinx – collaboration. In terms of non-theatre highlights, I can’t wait to see the final season of Game of Thrones, also looking forward to Star Wars IX and the remake of the Lion King. In terms of gigs, I am hoping to catch Tank and the Bangas on their European tour, Anderson Paak when he visits London and Skepta at Manchester International Festival. I’m sure there will be loads more cultural offers which will entertain, inspire and most importantly keep me nourished during 2019!!!!!
George Soave, Producer, He/Him/They/Them, The Other Room.
We are kicking off 2019 with an almighty bang. Spring Fringe is the latest addition to our programme here at The Other Room. February and March, traditionally the home to our self-produced work, will now be occupied by eight weeks of imaginative and bold Fringe Theatre. Spring Fringe will champion home-grown companies and provide a platform for non-native touring companies to perform their breakthrough work here in Cardiff. Presenting work from Edinburgh Fringe Festival, Cardiff Fringe and others from across the UK and internationally! Our diverse programme will present eight productions over eight weeks that capture the essence of the fringe – telling imaginative stories in ingenious ways.
What about our self about our self-produced work? The Other Room will remain champions of well-made, daring modern drama and are as committed as ever to producing our own work – if anything we’re pushing the artistic envelope even further in 2019 and this Autumn will see our self- produced work return so watch this space.
And that’s not all! In the spirit of the fringe, this Spring we are embracing our Cardiffian cultural cousins… the rugby. There’s no avoiding that each spring Cardiff is ignited by the Six Nations Championship, so we thought, if you can’t beat them join them! All five of the Welsh rugby matches will be screened in both Porter’s bar and in the theatre as a part of our Spring Fringe programme. So come on in and enjoy a play, a pint and a match.
Kully Thiarai, Artistic Director, National Theatre Wales.
I’m biased I know, but I’m looking forward to Ed Thomas’ new play ‘On Bear Ridge’ that will open at The Sherman in September. He has written a beautiful, poetic and poignant work.
Taking Flight Theatre Company’s production of Peeling by Kaite O’Reilly is touring Wales so I planning to catch that on the road somewhere. I missed it when it was first produced by Graeae Theatre Company many years ago.
More immediately Artes Mundi 8 has had another great year and finishes soon so catch it while you can! National Museum, Cardiff is also showing the rarely displayed drawings of Leonardo Da Vinci as part of a UK wide simultaneous exhibition.
I’m very excited by Yoko Ono’s Bells for Peace that will be opening event for Manchester International Festival in July. Thousands of diverse voices and an orchestra of bells sending a message of peace to the World seems like a very apt thing to be doing in 2019. In the same festival Idris Elba and Kwami Kwei-Armah will be making a new work called TREE – sounds like a great collaboration to me, combining music, dance and film.
Rachel Trezise, Novelist and Playwright.
Finally this year I get to road test a piece of my own work that’s been on my table for seven years, a play about the Pontypridd boxer Freddie Welsh, said to be one of the inspirations behind F. Scott Fitzgerald’s ‘The Great Gatsby’. I’m going to be working with RCT Theatres and Motherlode Theatre to determine if the work is suitable for public consumption.
Also I’m really looking forward to travelling to Northern Ireland where my monologue ‘Cotton Fingers’, commissioned by NTW for the NHS70 Festival last year, will open in May. The monologue is set in Belfast and concerns abortion laws in Northern Ireland but I haven’t been to Belfast for twenty years.
Most of all I’m looking forward to the publication of short story-master Amy Hempel’s new collection ‘Sing To It’ in late March, her first new work in over a decade. My personal hope for the year is that the UK, and Wales in particular, manages to get through the Brexit withdrawal process without much more trauma. We should know by the end of the year whether the tunnel that connects the Rhondda to the Afan Valley will be able to open as a cycling and walking track. I think that would be a great thing for both valleys.
Get the Chance critic, Sian Thomas
I’m awfully excited for the third How To Train Your Dragon movie. I really enjoyed the films through my teens and have actually managed to make that enjoyment infect others, too. It’ll be nice to see a cushy family film with the family this year.
Personal hopes are to read at least 20 books this year – and review the ones that take my fancy (not the ones I have to read for uni, haha). I’m looking forward to this because it means I’ll easily work on two new year’s resolutions: read more, and review more!
Jonny Cotsen– I have been campaigning for many years to try and get John Wilson, Deaf arts practitioner and consultant to curate and lead a BSL tour at one of our brilliant museums/galleries. John is one of the most experienced Deaf curators in the UK and for him to come to Wales to led the Artes Mundi exhibition at the National Museum, Cardiff was fantastic!
John Wilson– I was really pleased to be given this opportunity to come to Cardiff for the Artes Mundi 8 tour. Getting out of London and being able to share such an important and fascinating cultural event with deaf people in a different part of the UK was a privilege and a delight! I really believe that Deaf-led events with British Sign Language (BSL) the native language of Deaf people as the only medium of communication. They deliver such a lot for deaf people who feel confident that they are coming to something which they will understand and, what is more, has been organised specially for them. As a result some will come to a museum for the first time ever.
John Wilson– This event felt even more special for two reasons. Firstly the exhibition was for the largest art prize in the UK – I am not aware that any tour of such an important event for contemporary art in the UK has ever been organised for deaf people. It also provided an opportunity to open up contemporary and more abstract art to deaf people which, to be honest, is not a subject many will have felt able to approach before. I congratulate National Museum, Cardiff for organising this. What is more, I would like to thank Melissa Hinkin, Exhibitions Officer, Artes Mundi for doing such a wonderful job of setting up and organising the BSL tour.
Jonny Cotsen– The event took place two weeks ago and sold out pretty quickly. My background and passion is visual arts and to see this happening in Wales was a personal dream for me. I have been to hundreds of exhibition tours and I usually only understand about 20-30% of what is spoken, for this tour I understood 100%. I think having a Deaf curator makes a bigger impact because of the language they use and it resonated with a Deaf audience. There was a real mixture of people in attendance; some have never been to a museum before, some attending liked Art but have limited opportunities to see an accessible tour, some just wanted to see John. The feedback was really positive and I hope to bring John back more for more BSL tours in other museums around Wales.
John Wilson– Being profoundly deaf I am always well prepared for problems when getting involved in projects like this, only because people do not understand my communication needs or how best to make events accessible to deaf people. Of course, I had none of these problems with Melissa, and it was real pleasure to work with her. Thanks are due too to Jonny Cotsen who I know has put so much effort personally into campaigning for deaf access to museums and galleries in Wales. He sowed the seed of this and we need to say thank you to him. On top of that I was able to be part of such an important cultural event and a wonderful exhibition. It has been a cultural highlight for me and I am not sure it will be surpassed in 2019!
Hi Megan, this chat is specifically about music and the role it has played in your personal and professional life. Firstly to start off what are you currently listening to?
At the moment I’m listening to the Lazarus soundtrack, it’s the current CD in my car and I haven’t changed it for about 6 months, so I often listen to it on short journeys around Cardiff – for me it’s the perfect mid-point between three things I really enjoy: story-telling, musicals and David Bowie. I was lucky enough to see Lazarus at it’s run in London in 2015 – it was brilliantly written by Enda Walsh, and the staging was a great balance between rock concert, performance-art and play. I especially enjoy Michael C Hall’s version of Lazarus as I still find the David Bowie recording quite painful to listen to.
We are interviewing a range of people about their own musical inspiration, can you list 5 records/albums which have a personal resonance to you and why?
David Bowie – Underground
I had to think for a long time about which Bowie track to include in this list. To say his work has been an influence on my life would be an understatement. Like lots of people my age, Labyrinth introduced me to Bowie, and as a fantasy-obsessed 9 year old, you can only imagine appeal of the mysterious Goblin King. My mum was happy to cultivate the interest and began to introduce me to his other albums; she even bunked me off school to see his Reality Tour at the NEC when I was 14 and the Lazarus a few years ago (I burst into tears at the end, it was all very embarrassing for her).
Bowie’s influence has woven itself through me in fashion, philosophy and art as well as music. He is the poster-boy of reassurance for strange young minds that it’s cool to be weird; and whilst I have other favourite Bowie songs and albums, Underground was the catalyst.
Dick Dale – Pumpkin and Honey Bunny, Misirlou
I could have picked any track from the Pulp Fiction soundtrack to remind me fondly of my university years. As a young scenography student Simon Banham (who I’ve been lucky enough to cross path’s with again in a Professional capacity at NDCWales) decided we would study and create studio work based on Tarantino’s cult film.
I fell in love with the movie and learned loads during the project. For me, the driving pace of this track takes me back to the craziness of deadlines. As soon as I hear Yolanda say the iconic opening words I’m always grinning, reminded of some of the best friends and best work I made at that time.
Nick Hennessey – A Rare Hunger
I’ve always loved songs that tell a story, I’d enjoyed musicals from a young age but not really considered a mixture of spoken word and song before going to a Story-Telling event at my local arts centre. Nick Hennessey (a singer, songwriter, storyteller and harp-player) quickly became a firm favourite in my playlists, and the more he toured, the more CD’s I was able to get my hands on. I’ve been able to see him live a few times now and he has a unique way of weaving vivid tales whilst also possessing the most wonderful voice. A Rare Hunger is my favourite album he’s produced so far, the perfect relaxation for the active mind prone to imagination.
Johnny Hollow – Alchemy
I occasionally moonlight as a burlesque dancer, and whilst its certainly more of a hobby than a career; Alchemy is the track to one of my most requested acts, it’s carried me to some exciting shows both in the UK and further afield and allowed me to meet some incredibly inspiring women as well as life changing friends. I was introduced to Johnny Hollow whilst part of a devising society at university. They have an affinity for creating emotive and atmospheric tracks that easily stir the imagination.
Adam Hurst – Midnight Waltz
This is track that fills me with pride every time I listen to it. It features as part of Caroline Finn’s Folk a contemporary dance piece that has become well known as part of National Dance Company Wales’ repertoire over the last few years.
I’ve been working for NDCWales for 7 years now and have heard lots of music, there was plenty to choose from; but I can’t hear this without picturing Folk with joy. For me, it’s a reminder of some of the highlights of my career so far (and arguably highlights for the Company too) Like a few of my other fav tracks, it’s quite fantastical and evocative.
Just to put you on the spot could you choose one track from the five listed above and tell us why you have chosen this?
Oh Gosh! To pick a favourite from the list above would be like saying one part of my life has been a more important part of growing up than another – but without question if you ask me my favourite musician, I’ll tell you Bowie; so lets go with that.
Ahead of the 2018 Brecon Baroque Festival, Roger Barrington had the chance to chat to it’s Artistic Director, Rachel Podger about what to expect this year and also about her own flourishing career as one of the world’s leading violinists.
The Director of Get the Chance, Guy O’Donnell recently met with Rachel Boulton, Artistic Director of Motherlode, they discussed her background, thoughts on the arts in Wales and Motherlodes new production ‘Exodus’ which premiers at the Coliseum Theatre, Aberdare on the 5th of October before touring.
Philip Ridley’s acclaimed one-act 2000 play, “Vincent River” tells the story of a mother whose son Vincent has been murdered in a homophobic attack. In the aftermath, she learns about her son’s homosexuality. An interview with Director Luke Hereford.
The Director of Get the Chance, Guy O’Donnell recently met with Sarah Rogers, Artistic Director of Ransack Dance, they discussed her background, thoughts on the arts in Wales and her new production ‘Murmur’, taking place on Fri 14th September 2018 at Memo Arts Centre, Barry.
The director of Get the Chance, Guy O’Donnell recently met with playwright and actor Joe Wiltshire Smith.They discussed his background, creative opportunities for young people in Bridgend, his new play Five Green Bottles and his thoughts on the arts in Wales.
The director of Get the Chance, Guy O’Donnell recently met with Aleksandra (Nikolajev) Jones. They discussed her background and training, a current project Gravida and her thoughts on the arts in Wales.
Our mission statement at Get The Chance is “Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events.”
We were very pleased to see some of the priority areas in the new Arts Council Wales, Corporate Plan, 2018 – 2023 “For the benefit of all”
In particular we were interested in Commitment 2 below
We will enable a greater number and a wider diversity of people to enjoy, take part and work in the publicly funded arts.
ACW then go onto make a series of intentions (below) for where they want to be in 2023 (5 years)
We will be able to demonstrate clearly that all our funding programmes promote and contribute to equality and diversity
There will be a narrowing of the gap between those in the most and least affluent social sectors as audiences and participants
We will develop the creative work of disabled artists by funding “Unlimited” commissions and developing a scheme similar to “Ramps on the Moon” operated by Arts Council England
We want to introduce a “Changemakers” scheme placing BAME and disabled people in senior executive positions in the arts
We want to see a doubling of the number of disabled people in the arts workforce
We want to see a doubling of the number of Black and Minority ethnic backgrounds in the arts workforce
We want to have introduced an Arts Council Apprenticeships scheme designed to provide opportunities for people from diverse backgrounds
We will have achieved a trebling of the number of BAME and disabled and on APW boards of governance
We have been in discussion with a number of colleagues in the arts sector in Wales to request a personal response to Commitment 2 and are pleased to share their responses below. Please do get in touch if you would like to contribute.
ACW are currently asking for responses to their Corporate Plan and future Lottery funding priorities from members of the public, you can make an online response at this link .
Or attended one of the physical meetings. The public meetings associated with the consultation will take place at Tŷ Pawb, Wrexham (30 November), Volcano, Swansea (10 December), Riverfront Newport (7 January 2019), Aberystwyth Arts Centre (11 January 2019) and Pontio, Bangor (21 January 2019).
Further details are available on the Arts Council of Wales website. The consultation closes on 15 February 2019.
Carole Blade, Creative Producer
During 2019, Bombastic and Coreo Cymru will be hosting Family Dance Festival, a 70-minute entertaining and interactive dance programme for families, presented free of charge in theatre foyers and outdoors during the Easter holidays. Piloted in 2017 and further developed in 2018, Family Dance Festival features three Wales-based professional dance companies and local youth groups at each venue plus taster workshops for all, framed within a bilingual (Welsh/English) context and supported with accessible shows and feedback systems.
Our 2018 programme delivered an accompanying training and seminar event to promote Audio Description, resulting in the first Welsh language audio described live performances. In 2019, we will also offer BSL interpreted shows and focus on developing an audience and appetite for these services by actively forging relationships with members of the blind and D/deaf communities. We will do this through visits to local support centres, clubs and groups, offering programme insight and critically supporting a dialogue, asking questions to inform our deliver methods and to reveal a wider view of general provision, requirements and needs. Working in collaboration with Creu Cymru’s Hynt and the local venue, we will gather data to support general approaches to accessible practice in Wales starting with visits to local clubs and later request feedback relating to their FDF experience.
We will again work with Audio Describer Ioan Gwyn, who benefited from FDF2018 bespoke training programme and toured with the company offering both Welsh and English language descriptions. We will also work with experienced BSL interpreter Sami Thorpe of Elbow Room, to support the text based work and our reach. Their understanding of the target audience and experience within the performing arts, coupled with our plans to consult with individual service users through visits to their respective clubs and groups, prior to the tour, will enable the means and structure for a quality service. Ioan and Sami will work with the Front Of House staff at each venue to ensure quality customer care of our accessible audiences, positioning themselves at the box office to welcome and familiarise. Where possible we will integrate Ioan and Sami into the actual performance to positively reinforce inclusiveness and will create specific feedback forms to inform delivery and methods.
Gareth Coles / Voluntary Arts Wales Director / Cyfarwyddwr Celfyddydau Gwirfoddol Cymru
The second commitment in the Arts Council of Wales’ new Corporate Plan recognizes that the challenge is to increase and diversify participation in the publicly-funded arts. But levels of participation in different forms of creative activity may actually be very high, as people practice their creativity in libraries, church halls, pub function rooms and on kitchen tables and bedroom desks. Voluntary Arts Wales estimates that there are around 4,000 community and amateur creative groups in Wales. But these voluntary and everyday creative activities may not benefit from public subsidy, and therefore may not regularly appear on the radar of public funders.
There is a rich and diverse ecology of the arts in Wales: an ecology that we believe includes amateur, everyday creativity as well as the professional arts, and in which all elements are interdependent and mutually supportive. An attempt to engage more people in the publicly-funded arts might start with an appreciation of the creativity that people choose to practice themselves. Rather than see a deficit of engagement in the arts, we might recognise the cultural assets and activities that already exist within communities across Wales, and build stronger links with the publicly funded arts.
In 2016, Voluntary Arts conducted a project called Open Conversations to improve our understanding of creative cultural activity in Black Asian and Minority Ethnic (BAME) communities across the UK. We convened an Advisory Panel of experts in BAME creative activity, who made introductions, accompanied staff on visits, and met regularly throughout the project to discuss findings. Voluntary Arts staff and Expert Panel members conducted long, unstructured and informal conversations with practitioners across the UK. At the end of the project, we invited the Panel members to become Trustees of Voluntary Arts, and now 5 of our 11 Board members are from BAME backgrounds. As a result of this work, we became the first arts organisation to win a Charity Governance Award for Board Inclusion and Diversity.
We have also sought in recent years to celebrate the excellent work that exists in the voluntary arts sector to champion diversity, through our annual Epic Awards. Get the Chance was a recipient of the Celebrating Diversity award in 2017.
Our Drawn Together project, a partnership with Coast Lines, has engaged over 2,500 people of all ages in producing over 5,000 observational drawings – creating a collective visual representation of Wales in 2018 (now on display in the National Museum of Wales, Cardiff). The feedback shows that 96% of participants felt happier and more positive as a result, but the majority weren’t creatively active, or involved in any arts or community groups. We believe this worked because we took the project to places where people convene: in existing community groups, libraries, cafes, care homes, workplaces and schools. We worked with Big Issue vendors in Cardiff, residents living with dementia in a care home in Pembrokeshire, RNLI volunteers in Aberystwyth and farmers in rural Denbighshire. A majority of project participants now want to continue their creative practice.
I welcome this commitment. We all should. We all benefit from a wider diversity of people enjoying and taking part in the arts.It needs to be ever evolving and new energy and life bought in. We all have skills, experience and stories to share. Quite often I find we are ignorant or unaware of challenges facing others and it needs to be addressed and challenged and become second nature not a box ticking exercise.
In uncertain times socially and politically, especially where people feel threatened and surrounded by divisions and threats, the arts can play a pivotal role in confronting fears and open channels of communication. We are social animals. We need to seek each other out. We need to go knocking on doors and meet face to face and not rely so much on social media to connect.
I constantly bang on about the transformative power of the arts! It’s life-enhancing – music, theatre, images, installations, dance etc in all it’s glorious forms. They enable us to communicate, engage and express ourselves and that positive experience can spill out in to all areas of life. It gives us an emotional literacy and helps us try and make sense of the world and our surroundings. It infuriates me that music and drama and literature are constantly threatened within the education system and that there are less opportunities from an early age to engage and benefit. Mental health issues, anxiety and lack of confidence is on the rise in schools and I am in no doubt there is a direct link. The arts are essential to our wellbeing and the earlier we are exposed the better. It is also vital to ensure that there are opportunities for all ages and that it isn’t all focused on youth but continuous in to old age.
It has to start with a conversation – what are the complex needs of different cultures, genders and abilities in Wales? For a small nation our diversity and needs are huge! There is no one size fits all. What are the present weaknesses and gaps and challenges and how do we approach change and a new model of addressing and implementing things for the benefit of all? It’s essential to give a voice to those who aren’t usually given a platform and we must empower those who don’t think their story is of value. We also need to showcase and showoff what we can offer so that people are aware of the possibilities and the work that is and can be created.
The image of the arts needs to be changed so that people feel that they can take ownership and that it belongs to them. It’s up for the current gate keepers not to just welcome and implement an open door policy and a willingness to listen but to actually do the ground work and seek people out face to face. This connection and nurturing needs to be sustained. We have the talent, skills and expertise in Wales but we need, especially in times of funding cuts to pool resources and collaborate and communicate much better than we already do and to be in regular contact and communicate and share knowledge with each other.
My background is in playwrighting and one positive experiences I have had was ‘The Fresh Ink’ initiative with the Sherman Theatre where over a period of 10 weeks I visited St Teilo School in Llanedeyrn, Cardiff. I worked with a group of students who had never visited the theatre and who had little confidence or interest in writing. Allowing them to step away from thinking and writing academically, encouraging them to find their own voice and to take ownership of their language and rhythms of speech the students grew in confidence and produced extremely moving and passionate short plays that were then performed by professional actors at their school in front of their peers. Their reaction and their pride in their words and stories was empowering. For the first time some of them felt they had created something of worth and value and were proud to share it. The Sherman are currently running a playwrighting scheme for similar students to whom opportunities have been limited. The weekly sessions are free of charge and transport is provided. The students work will be performed at the Sherman in the spring.
Artist, researcher, academic and TV presenter
I have just read the corporate plan. I feel little excitement although I think the targets are attractive. My main contribution to this goes back to the idea of getting out of offices and on to the streets, into community spaces without an agenda and seeing what one can learn.
This feels like wanting to do research and already knowing the answer. I think its problematic in its genesis.
Of course the key is the youth, the next generation but I also believe that bodies like the ACW already have a public image and in order to broaden its public perception (increase participation and attendance in publicly funded arts), honest work will need to be done from the inside, beyond inviting token BAME individuals to be on their board. This crucially involves getting to know who you are working with and for and perhaps getting your ‘targets’ from the people and what matters to them rather than the governments with their outward facing strategies.
I am struggling to articulate a coherent response to that as I believe the response would need to be rooted in research. What I mean is, we are talking about arts participation, but that is just ‘our’ arts. There are groups and communities making ‘arts’ and doing their thing that get washed over for various reasons. What is at the core of the desire to increase participation? What are ‘more diverse’ communities and groups already doing and how do we foster conversations that facilitate an equal space for voice and visibility and limits the threat of appropriation.
First of all, the fact that these goals and priorities have been set is fantastic because it means we’re really acknowledging that this is a problem. There are many, many people still feeling excluded from the arts (not just as audience members but as people wanting to work in it too) so having a goal to change that can’t be anything but a good thing.
How will it actually be achieved?…….. action. Action by all. Everyone, every single one of us currently working in the arts needs to assess our ways of working, our processes and avenues of finding collaborators and we need to really question how inclusive we’re been the past. And if we haven’t been inclusive, or inclusive enough, we MUST, must make change. From hiring to casting to finding audiences we must continuously ask ourselves whether we’re doing enough to make sure that ALL people feel invited. I sometimes feel like I’m the P.C police these last few years (I’m sure my co-workers feel it to!) because I have made a conscious decision to ask the difficult questions and speak up for those not in the room. And it’s not always comfortable. It makes people uncomfortable but the only reason we all feel uncomfortable is because we know there’s a problem. “Have we gone to all lengths possible to find BAME actors that can audition for this part?”, “Our focus should be on finding female musicians”, “have we considered Welsh learners for this part?” I don’t ask these questions to make people feel guilty, I’m doing it so that we can create active change so that we’re not guilty of being exclusive. We need to keep reminding each other of being inclusive until it becomes second nature.
Director of Fio
I guess my major reflection on this has to be that whilst we have a statement being made by ACW which I believe is the right one. What seems to be missing is the response from arts leaders who have the resources to really make a difference. I guess unless a firmer and clearer picture is presented in terms of the sharing of power and resource, the inevitability is that this will remain words on a page. We, have to question how a sector which is led by same people will suddenly decide this needs to be prioritised just because ACW has said so, we need to go further and find other more innovative solutions where power is shared more equally?
Van Gogh on the Beach is a tale of Vincent’s love, art and heart in Lost Angels written and performed by talented Jahmar Ngozi. Van Gogh on the Beach fuses together a blend of poetry, drama, dance and art, where the Great Vincent Van Gogh exploits, highlighting his infatuation for an enthusiastic, endowing sexually elevated women and of course his passion and gift for his artsy, God given gift.
The time period of Van Gogh on the beach is Set in Los Angeles during the buzzing, booming century of the 80’s/90’s, where they’re seen in the play rocking out vintage, classy and sleek dress wear and suits, smoking cigars and remaining optimistic when feeling drained from a bruised community, as they expand on the stigma of artists only associating with their respective peers. However, through all of that heat a cool breeze shifts the air as they seek a solution to the problem. Expanding into the era when the enlightenment of art was detached from anything that bound it, acknowledging that art is an expression of anything you allow it to be.
Van Gogh on the beach is a fantastic, historical admiring play that’s full of energy, powerful words and heartfelt scenes. This play channels the excitement of jazz, spoken word, passion, romance and the importance of art. The overall production is cultural, eloquent and historical as you travel through the journey of different lives that contain factual, fantasy and inspirational entertaining content. A well presented show, as Van Gogh on the beach is extremely engaging and exhilarating to watch.
Also for the second time, Suzanne Noble, whose Flamboyant Bus Tour in London was the highlight of Advantage of Age’s 2017 events calendar, inspired our Wales-based event.
AofA’s Arts Council of England-funded events drove impressive numbers to their now 3,000 plus members-strong Facebook group, Advantages of Age, Baby Boomers and Beyond and 6,500+ followers-strong Instagram account The London bus tour helped to consolidate the AofA community, and it was the primary driver of human traffic to the group.
Through the power of our partnership with Advantages of Age, Get The Chance’s events have the chance to reach many more people. I was keen to build on the success of my 2017 event, Creative Listening, and to continue to develop this relationship.
Creative Listening could have been perceived as ‘fluffy’ due to it being set in a hot tub. On the contrary, it was quite a cerebral event.
Similarly, AofA’s inspired series of hot tub salons earlier in 2017 were by no means fluffy.
I was pleased to have received another grant and another chance to produce. For many reasons I wanted to mix it up this time, do something different, and I felt that it would be great to do something that was for just for fun for a change, particularly because of how intense the social and political climate in 2018 had been. People needed some levity and an opportunity for some escapism. I had no intention to make light of something that warranted a serious take — but without a doubt a creative event such as a bus tour was a platform to be able to offer such levity, and I loved being in the position to be able to offer people this opportunity.
The Double FF Bus Tour offered participants a chance to express themselves — however the mood took them. There were no dictates, no rules, only to be as flamboyant as they liked — whatever that meant to them, and feel as fabulous as they could — inside and out! A chance to hop on board and be themselves — to come out, enjoy and have as much fun as they possibly could on an open top bus around Cardiff!
So, how did it go?
From a marketing perspective, Facebook was my primary marketing tool. I started to promote the event via the Double F Facebook ‘public group’ in early March —
Gearing up for a great event. It’s greatness will be measured by levity and uncomplicated fun. It will make a nice change. Please come and join us.
The Double F Facebook group page got 75 members; Fabulous and Flamboyant Bus Tour @ Get the Chance page attracted 50 members and continues to get Likes; and the Event page, attracted another 19. Examining the analytics, there is room for improvement on these social media numbers. But before I shoulder any ‘blame’ for these less-than-ffabulous results, I would like to comment on how I felt whilst working on the social media campaign. I felt confused, and somewhat overwhelmed by what was on offer on FB, and I believe the confusion stems from the option to set up a ‘page,’ a ‘group,’ and an ‘event’.
which somehow got linked to last year’s Creative Listening page, and then thought I’d better set up a separate page for the Bus Tour, and so I set up The Fabulous and Flamboyant Bus Tour @ Get The Chance
I thought all of these would link up simply and seamlessly and that cross communication would flow, but this was not the case, and as a result, my efforts on FB were split between 3 different places. For the purposes of managing communications with existing ‘members’ and managing promotional efforts to attract more, it became somewhat confusing for me, and I have no doubt that it was not entirely clear to the public either. And so, while Facebook does provide an excellent way to reach the public, I have a feeling that they are now complicating their offer beyond what is practicable. Or, perhaps I need to up my game, and just figure it out! I would welcome comments from others on their experiences with promoting via Facebook.
That said, Facebook analytics have provided me with some reassuring and encouraging stats:- We ‘organically reached’ 2,344 people. Reach is defined as the number of people who had info about the event ‘enter’ their screen.
The majority of those reached were females between the ages of 45 and 64 years old. Iam satisfied with these results. Perhaps my next event will attempt to address the imbalance between men and women reached.
Oftentimes the event organizer is too busy to actually participate, but because most of the work had been done in advance, I was able to feel like a participant. I was able to really enjoy and feel part of the day, which was amazing.
Judging the mood on the day of the event — it was high spirited! The weather was ideal — it could not have been better! And the Royal Wedding on the morning of our 1pm scheduled event was quite likely a contributing factor to the sense of occasion that was in the air. The cumulative effect was wonderful.
“The Double FF Bus Tour… ‘…took a great event and made it better.”
As a producer, I am confident the event went very well, and that it achieved its objectives — we had a chance to do something different, be ourselves and have a fun day out with a group of older people. Measuring the degree of levity and volume of uncomplicated fun — our cups were full and spilling over.
The experience also offered me a learning curve — there were things that could have worked better. Logistics were the primary problem, having a starting point in one place — The National Museum of Wales — and an end point in another — Cardiff Bay. The problem this presented only became clear as it was occurring, by which time it was too late to change. And so, after the full loop through Cardiff City Centre, down to the Bay, and back up to the Castle, participants who had parked their cars in the City Centre near to the museum did not want to go back to the Bay for tea and cake. We were only a handful of people at Ffresh. Too bad we didn’t think to start and end in the Bay, that actually would have made much mores sense …..But that is part and parcel of doing something for the first time. You cannot possibly think of everything. The other was that, due to road closures for another big event going on, which we hadn’t been previously aware of, the bus driver had to improvise the route. For example, I don’t think an open top bus would have gone under the rail bridge in Riverside except under these circumstances — and in their feedback some participants said they’d found this scary. I’m very sorry about that, but it was something that was out of my control. I did check back with the bus company on this matter and I am relieved and reassured by their response:-
Yes, we used the route through Riverside due to diversions on the day.
As you can appreciate we have been running the tours in Cardiff for over 22 years, the bridge although appears low, with a very tall person standing, they clear the bridge with a lot of room.
We have route risk assessments done on all roads covered by our main tour, and any roads covered due to diversions. We have used the Riverside bridge route many times over many years.
I am grateful to the bus driver, Maria, for her professionalism and for being such a great sport. She really entered into the spirit of the day. I am also grateful for Lynn Hoare’s contribution — she brought along an array of costumes — hats, feather boas, masks, capes, etc., from Marigold Costumes — which were there for the borrowing.
“The costumes were wonderful; you could see people change as they put them on.”
Another big thanks to Lucy Purrington who was our stills photographer and videographer on the day. Please enjoy her photos in the is article! Here is the short video Lucy produced.
I was thrilled to have connected with Bethan Frieze, the conductor of choir Only Menopause Aloud, and for the choir to have been part of the day. Their contribution added a huge surge of energy!
The event could not have happened without the extra sponsorship from Spice! I am especially grateful to Rachel Gegeshidze and her team for helping promote and attract participants to the event.
And, of course, to Guy O’Donnell, Director of Get The Chance, to Emma Robinson at Gwanwyn, and to Suzanne Noble of Advantages of Age.
There was a lot of positive and constructive feedback, amongst my favorites, pulled out and highlighted in this evaluation:-
Bethan Frieze, Conductor, Only Menopause Aloud, captures a special essence with hers:-
‘When do grown ups (who are not performers) get the chance to be that free?’
Suzanne Noble joined us on the day, and her comment makes me feel proud:-
‘The Double FF Bus Tour took a great event and made it better.’
“A really happy couple of hours…I suspect that it will stay a very happy memory for all.”
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
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