All posts by Guy O'Donnell

Hi I am Guy the project coordinator for Get The Chance. I am a trained secondary teacher of Art and Design and have taught at all Key Stages in England and Wales. I am also an experienced theatre designer and have designed for many of the theatre companies in Wales.

Dance, Literature, Theatre

The Road to Reopening. Artists and audiences on returning to physical venues.

July 28, 2021 Guy O'Donnell 1 Comment

Geinor Styles, Artistic Director, Theatr na nÓg

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

Put on shows. There is a spanner in the wheel called R & D. It’s like an insurance policy against bad theatre, but all it does is clog up the system, and nothing gets produced in fear of it not succeeding. Companies funded as part of RFA have a track record of creating great work, and there should be a level of confidence in those companies to do that. The development of new writing or a seed of an idea is different, but still, there should be places for that work to be seen and tried out; otherwise, there will be nothing on our stages. No product, no audience, no data to be collected for future strategies. Invest in the art.

Which venue has a special place in your heart and why?

There are so many in Wales to mention. Places like The Muni, The Gwyn Hall and the Met, these venues had the nerve and the guts to produce two productions of ours that then toured No1 venues in the UK. But also, how the entire staff bought-into being part of the production from the box office staff to the people working in the café, to those that made sure the venues were clean and safe and comfortable places for people to enjoy a good night out. They felt pride in being part of something exciting, which brought in audiences. I will always be grateful for their generosity and humour in making those shows a success.

Our current collaborations with our Consortiwm Partners Soar in Merthyr; The Welfare in Ystradgynlais and The Town Hall in Maesteg, are perfect examples of venues at the heart of their communities, their knowledge of their audiences are intrinsic to a successful thriving theatre culture.

Our co-production partnership with Aberystwyth Arts Centre is joyful. We have been in discussions and pre-production for Operation Julie since 2017, and when it does finally get to the stage next summer will be one of the most thrilling experiences I have had in co-producing a show.

The National Youth Theatre on Great Britain planned to produce The Masters House on the 14 -17 July. On the 10 July they announced that due to Covid-19 isolation requirements they have had to cancel the performance. One of the plays directors Chris Sonnex tweeted in response.

“We can’t forget it’s also a reminder of the incompetence of this government, Johnson acted too late over & over, the people in charge hired their incompetent friends & they’re systematically letting down the arts. The disregard they give artists and theatre is because they are scared of the power we have, the opposition we send, the empathy we encourage. We weren’t working with young people, we were working with artists and activists, who will not forget this governments shit. I don’t want to hear anyone chatting about talking Tory or being apolitical. I want you all to hold these incompetent pricks to account. They’re letting your parents down, you are down and the younger generation down. Artist must revolt. Create. Revolt and fight.”

Is Chris correct?

Yes. In recent meetings with young creatives – that is very much what they want to say. Our responsibility is to support them in saying that. To make a change.

In response to Covid-19 Many theatres and arts organisations have developed work to be performed outside. Have you seen any work created in this way and can you see audiences having an appetite for it to continue?

Yes, Theatr na nÓg and Theatr Brycheiniog were involved in a test event for Welsh Government. Although our experience of outdoor theatre is minimal, it was joyous and a great way to be back in the world of producing and performing live.

I think it is a way forward to keep theatre in the public eye in this weird world. However, as we know, it is so weather dependent, and I think the consequences of the climate crisis make it impossible to predict any dry season with certainty. A discussion is needed on insurance, especially for smaller companies and venues with so much more at risk of cancelling performances—also, a dialogue between local authorities, companies and venues to have a consistent message on rules and regulations.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

Needs must. However, it is not theatre. It is not a shared experience. Without the incredible investment needed in creating quality digital productions that you can monetize effectively, it will be the death knell of live performance. Obviously, as an added resource that sits alongside a show for audiences to access, it is and has been of benefit for us to widen our reach and to get our work seen not only in South Wales but all over the world. But, engagement, real engagement is vital. Never underestimate the power and impact of live theatre.

Chris Sonnex, Director

With the roll out of the Covid-19 vaccines, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

Be better, don’t bet on what you think is a sure bet. Innovate, listen to people, stand up for people, make something exciting. Remind people what they were missing out on all this time, I don’t need to see Romeo and Juliet again, and if I did I could watch it on streaming services, give me something else. STOP MAKING ALL WHITE PRODUCTIONS, HIRE ARTISTS OFFSTAGE AND ONSTAGE FROM THE GLOBAL MAJORITY

Which venue has a special place in your heart and why?

The Royal Court, if it wasn’t for that family led by Vicky Featherstone, I wouldn’t be where I am now, wouldn’t have a career, wouldn’t have learnt all the things I know now. Also the upstairs space is the best theatre in London, changes every damn time.

The National Youth Theatre on Great Britain planned to produce The Masters House on the 14 -17 July. On the 10 July they announced that due to Covid-19 isolation requirements they have had to cancel the performance. Yiu wer to Direct this production and tweeted in response.

Are you correct?

Yes. Yes I am. Some people might not think I am. And that’s fine. Because that’s a democracy. You know what a democracy isn’t, putting in bills that silence journalists, stifle, and ban protests, decimate the arts education, lets poor people starve to death, tries to destroy the national health service, and sells everything that’s publicly funded off. That’s closer to fascism. So, you might not agree with me, but that’s a right you currently have. If you don’t fight this government, in years to come you might not have that right anymore.

Theatres more than four walls, it’s a movement, its art that cant be contained (at the best of times). Arts organisations, especially people that deal with community and youth work, have been utilising outside work for years. Audiences have an appetite; it’s been there forever. It’s not new. It is bringing theatre to the people. Long may it continue, but let’s not forget the wonderful organisations and individuals that have been doing that forever.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

Don’t let the necessity and the medium dictate the work you make. If it’s just to make sure your relevant and to be seen like you’re doing something, then we don’t need that. If its interrogating the art, if its pushing the art form, keep doing it. Having said that Zoom shows aren’t my cup of tea, and a static shot of a theatre space bores me, (filming theatre reminds me that I don’t have a choice over where my gaze is, that you’re telling me where to look, not earning it. Which annoys me somewhat.) However I will say, the scope and reach that you can get when you do it well, is spectacular, there’s a real diversification of who you are reaching, it means people that can’t leave their house for whatever reason can see it, that people that can’t afford nights out can see it, that people not based in the city or town that its put on can watch it. That’s great. That audience deserve that you give them something really good, so don’t half ass it.

Get the Chance supports the public to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here. All and any contributions are greatly received, thank you.

Louise Miles Payne, Director, Creu Cymru

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

I think the main thing is to make sure that audiences feel comfortable and know that venues are doing all they can do keep people safe.

Enhanced cleaning.
Hand-sanitiser stations.
Wearing of face coverings.
Modified routes around the buildings to avoid overcrowding.
Possible contactless ticketing, possible staggered arrival times and security checks.
Restricted stage-door activities post-show.
Some socially distance performances may still be available (where possible).
Staff and performers will take part in lateral flow testing.
Audiences will be encouraged to do their own lateral flow tests prior to attending.
Audiences should not attend if they have any Covid-19 symptoms or have been asked to self-isolate by Track, Trace and Protect.
Refunds will be available to patrons not able to attend for these reasons.
Audiences recommended to bring minimal possessions.

We really want to see audiences back in our venues. Some have already reopened with live performance and cinema with limited capacity and are a great example of how it can be done safely.

Which venue has a special place in your heart and why?

That’s tough one as the majority of venues in Wales are Creu Cymru members so I wouldn’t want to favour any one place! I’ll cheat and choose a non-member. Parc Hall in Cwmparc, just outside of Treorchy in the Rhondda. This was the first venue I worked in after University and I did everything from book the shows, box office, technical, marketing and teaching drama classes! It’s a beautiful example of a miners hall and was just a joy to be at.

Is Chris correct?

Probably. I’m slightly sick of hearing terms like ‘non-essential’ and ‘unskilled’ when it comes to the arts. I’m sure people have been enjoying lots of TV, streaming services, books, online events etc over the last few months. These were all made by highly skilled people who deserve respect. Either that or just turn everything off. No TV, no streaming, no You Tube, no radio. See how they like it then.

Until recently I was lucky enough to live near Chapter so I went to see both the Theatr Iolo shows there last year (Baby, Bird and Bee and Hoof) and it was fantastic to see live theatre again. There is a fantastic history of outdoor theatre in Wales so I see no reason why it shouldn’t build and continue after the pandemic.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

The upside to streaming has been the accessibility of it all. Audience members who may not have been able to attend in person have been able to watch and experience performances normally out of reach. I know that there is a call to try and continue with some kind of hybrid but I just worry about this might work. Personally, I’ve enjoyed the live stream performances made especially for online such as Daniel Kitson performing live on stage at the Torch Theatre in Milford Haven or Sherman Theatres ‘Merthyr Stigmatist’, over the ones that just broadcast a live show. Watching some of the NT Live shows at the start of the pandemic just made me think about what I was missing. Although not paying the ticket fee and travel costs were a massive bonus.

A mix is probably the answer but a smarter way of doing both would be great.

Viv Goodman, Performing Arts Lecturer, Coleg Gwent

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

Looking at this purely through the lens of drama education, venues have been a key issue for Performing Arts courses throughout the pandemic. When the prospect of face-to -face learning returned there were considerable restrictions over the number of students who could be in our rehearsal rooms at any one time and -with around 100 students across four different courses at Coleg Gwent -this was very difficult to accommodate in a practical way that was meaningful and workable. The real turning point came when we were offered financial support from Welsh Government that would enable us to hire venues off campus so that all our students could re-commence practical work safely. At that point I was working with our USW degree students on Tracy Harris’ play ‘Ripples’ , which had been written for the final year BA hons and Masters degree students at RWCMD in 2020.

Having spent the entire rehearsal period remotely, with students auditioning for Tracy online and working with original cast members Shannen McNeice and Mark Henry Davies over Teams, we were then able to hire a rehearsal space at RWCMD to workshop and film the students’ performances. It felt both apposite and a privilege to take the play back to its roots and the funding meant that I could have Tracy and Mark with us to develop the students’ work further. So, for us , something incredibly positive had emerged from such challenging circumstances and the student experience turned out to be above and beyond what I had originally hoped for them. As a Drama educator I feel very fortunate to be teaching in Wales and to have had this support for missed learning made available to us; in recent months it has been dismaying to read of proposed funding cuts to Performing Arts education in England and I hope very much that this is an indication of greater support and encouragement in Wales.

This was, of course, an obvious solution to proposed performances over the last 18 months and it is so encouraging to see some exciting productions happening again. I remain a little concerned by this, however, as is an option that is only really available to specific styles of performance and can therefore only solve the problem in a limited way. At one point during remote learning it was suggested to me that we perform student pieces outside but this option is at its most effective in more expansive performance styles such as classical plays or family entertainment. I had already made careful selections of material for the students to explore, and of course this is always done with their specific learning and training needs in mind, and I really didn’t feel that an outside performance would meet the needs of the piece or the students. In addition to this point, I feel that outside performance exists quite within its own right and to mis place styles within it or to over-use it could take away from its uniqueness.

Lisa Parry, Playwright

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

I think it basically comes down to clear communication and theatres are very good at communicating with their audiences. We’re used to living in a Covid world now, so simply making everyone aware of the rules and regulations before they arrive will help people’s stress levels I think. I think theatres need to cater for people who are nervous about returning though, and people who are clinically vulnerable too. Will theatres have special performances where social distancing is maintained for example? I think the emphasis needs to be on welcoming people back and accommodating them rather than excluding them if they haven’t had both jabs for example.

Which venue has a special place in your heart and why?

I’m going for two. Theatr Clwyd because the care it has shown for its audiences, community and freelancers has been second-to-none and I can’t wait to get inside the building again. And also the Sherman, because that’s my local, the theatre which has helped develop me as a writer and a place where I’ve seen life-changing productions and made lifelong colleagues and friends.

Is Chris correct?

No one will forget the way the government has reacted to Covid – certainly not the younger generation. I was on the school run the other day when a friend said to me how the generation coming through will remember it in a similar way to how he does the miners’ strike and how it’ll affect how they vote as a result. In terms of the work they make, of course it’ll be there.

More widely, is it theatre’s place to revolt and fight? It’s difficult to say it’s not when you look at the legacy of Brecht and Boal. My worry is how the government is already heading that opposition off. Freelancers and buildings which join together to make that kind of work are on their knees because of Covid and a lack of support from the government. Yet at the same time the government has dangled £120 million in front of companies from across the UK as part of its Brexit Festival, now named Festival 22, and some have embraced it as a funding source, despite the outcry from freelancers because of its political origins. If it’s our job as an industry to create, revolt and fight – is that fighting? Can state-sanctioned projects ever really be in opposition to the agenda of the state, however arms-length the organisers’ claim it will ultimately be? Should those companies have refused the money and called on the government to reassess the entire thing after Covid wreaked so much havoc? This debate is hurtling towards us but if you even think Chris might have a point, it’s difficult not to start thinking about what your approach to the festival might be and what the legacy of it will be in terms of artistic opposition across the UK.

No, not yet. I’m hoping to catch some things later this year. I’ve seen the sets for work outside Chapter and it’s lifted my spirits. I don’t see why that wouldn’t continue – it makes complete sense, especially if audiences feel safer outdoors. Theatre is a relationship between creatives and audiences. If outdoor work will get an audience – why wouldn’t we make it?

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

Yes, I really think they should. We have the technology. The National Theatre even has a sharing platform. Is there a way to establish some kind of UK-wide platform, or piggyback onto the NT’s? Theatre is a live medium and live will always be the best experience but it feels really unfair to see London companies getting more cash because they have a UK remit, and then keeping all of that work in London when they could so easily stream it. Streaming after the show has gone down is one way to allay fears re people not going in person because they know it’s going to appear online, but I genuinely can’t see it affecting ticket sales, especially after the time we’ve all had apart. People want to be physically together again. I just think if this experience has taught us anything, it’s that we have a responsibility to each other and as a theatre community that means thinking about audiences who can’t, for whatever reason, see the show in the building. I also think it could bring audiences to theatre too, although there are huge issues in all of this regarding online access etc.

Tafsila Khan, Theatre Director, Access Consultant and Creative Associate, Wales Millenium Centre.

I feel as a disabled person, the last 18 months have given us the time and space to think about what venues offer to their audiences. I believe as venues start reopening they should have their audiences at the center of all decisions. I think something else we have learned is that there is more than one way to engage audiences, for example through digital works.

Scott Arthur, Actor and Co-Director, The Far Away Plays

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

First and foremost, venues need full support so that they can be as ambitious as possible. Over the last 18 months people have become so accustomed to staying in that it might take a while for them to even realise that theatre is an option for a good night out again. Of course, lots of regular theatre-goers will be chomping at the bit to get back into venues, but in order to attract a diverse audience too, who might not think theatre is for them, the prospect of going to the theatre needs to seem as exciting as possible. Venues also need a little bit of help from artists who can guarantee a high audience turn out too. It would be great to see well established actors, writers, and directors from Wales, who’ve made a bit of a name for themselves and carry a bit of clout, commit to being part of a play at a venue in Wales that badly needs the support and attention. This would also be a great opportunity to make sure lots of recent drama school graduates are part of a production too, many of them having the most difficult start to their careers.

In regards to venues feeling COVID safe, it’s a relief to see the Welsh government has a little bit of sense, compared to those in Downing St, when it comes to face masks and social distancing. The main priority is making sure all audience members feel safe, and I’m sure Welsh venues will lead the way in doing so. regards to the venues feeling COVID safe, it’s good to see the Welsh government has a little bit of sense in compared to those in Downing St, when it comes to masks and social distancing. The main priority is making sure all audience members feel safe, and I’m sure Welsh venues will lead the way in doing so.

Which venue has a special place in your heart and why?

Theatr Elli, Llanelli. Sadly, it closed its doors back in 2012 due to the opening of Ffwrnes, but it’s this beautiful, old Art Deco theatre on the inside, whilst on the outside it’s an almost dystopian looking building that’s bang in the middle of the town. It meant so much to so many artists from the area. Word on the grapevine is that a private investor is trying to restore it to its original glory and for it to become an all round arts centre once again. That would be truly special.

Taliesin Arts Centre, Swansea, has a special place in my heart too. It’s such a beautiful theatre and an incredibly vital arts venue for South Wales too.

Is Chris correct?

Absolutely. Theatre’s been in need of a revolution for far too long now, even way before the pandemic.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

It’s difficult. Streaming performances have given a whole load of people the chance to see a production who wouldn’t normally get the opportunity to watch that particular piece. Perhaps the way forward is to stream the production for two/three nights only, right at the end of the run, or after the play has finished? The physical performance element has to be prioritised for sure.

Elise Davison, Artistic Director & CEO, Taking Flight Theatre

I went inside a theatre today to start planning a project that should have been delivered in 2020 and is now scheduled for 2022. Most of our discussions centred around all the things we used to talk about pre pandemic. But there was one major difference, we were not only focussing on what would be happening in the space but also about how we could make that available in a creative way to an audience watching from home.

As we re emerge lets not forget that for some people coming to a physical theatre building is still not a possibility, maybe it never was. Lets not unlearn the lessons we learnt out of necessity ‘because we had to’ when we don’t ‘have to’ anymore. For some of our audience will still want the option to enjoy theatre from home and we now have the tools to do this.

Lets not forget about flexible working, remote recruitment and meetings. Lets explore a hybrid approach to making work, for the audience but also for the creatives.

Lets keep our spaces open, experimental and welcoming and please lets continue to work collaboratively. As we press reset lets use this as a chance to keep removing barriers to keep thinking outside the box.

Avant Cymru gave a response based on how their organisation has embraced the challenges of working outdoors to create new work for and with the public.

Avant Cymru are a forward-thinking company from the Rhondda Valleys. We have been living and engaging with our community throughout lockdowns and through conversations around recovery. Planning the events which have taken place though live social distance events or through digital showcasing; Rooting Hip Hop Theatre in Wales workshops, Hydro Jam, Henry V, Cyber Jam, Coming of Age, Hip Hop for Better Mental Health evening, Twelfth Night and Dark Thoughts R&D as shows and we have been involved in newsletters #OurStreet, graffiti pieces #PositivePorth, Stage Combat courses, regular dance session and engaging with others events.

We have key collaborators who co-design our work in the local community and with people from our community of interest. Co-designing, listening and being inspired by our communities needs and ambitions are our shared goals. We believe that there is room for everyone to access the arts and listening to everyone is the most relevant way to create cultural provision.

Our work is still a hybrid between digital and live/in person. We featured work in last years C Venues Ed fringe and we are preparing work to do the same this year. As well as other exciting work which we are going to be testing and trailing using zoom read throughs and continuous conversations with both local communities and communities of interest.

Outdoor work has always been a part of our repertoire. Jams, festivals and shows made and adapted to fit in many types of outdoor spaces. The outside work has been sometimes out of necessity, the doors have not always been open for disabled, working class or hip hop artists all elements which are relevant to the work we create. But also through choice, because the Rhondda provides, green (eco-friendly) and beautiful spaces, where the work we creates sits perfectly in these settings.

We are really grateful to Porth AFC and Welcome to Our Woods who offered us Outdoor space during this time. To Welcome to Our Woods for providing us with the opportunity to create in a place an amazing space, where the wood used to build to build the stage will be relaced, through new trees being planted and hydro electricity from the water running off of the mountains, and only a short walk from the train station, a place where the planet and the people could be healthy. Greener ways of working will be involved in all projects going forwards.

As well as amazing venues, we have been able to collaborate with over 114 freelancers; freelancers from RCT, and from drama, dance and Hip Hop communities. We have been able to work together to support not only creative work but each others mental health and well-being. It has been a hard time for many and the opportunity to come together either digitally or in times in person, has been invaluable. We are grateful to each and every freelancer who has collaborated with us at this time, we cannot wait to start planning the next projects together.

Avant have upcoming digital shows, live classes opportunities already on our website www.avant.cymru with more opportunities coming soon.

We have 5 spaces on the next stage combat course from the 30^th of Aug, if anyone is interested in getting involved email us at hello@avant.cymru or follow us on social media.

You can read more about HydroJam in this article by Ann Davies here

Cory Shipp, Theatre Designer

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

I think they need to advertise what they are doing to make audience safe, which is ultimately our biggest problem at the moment but honestly we could have done with higher audience numbers anyway! I’d love to see more theatres doing Pay What You Can, advertising better prices for single seats for those of us who go it alone as well as better access.

Which venue has a special place in your heart and why?

Oooh tough choice! I have so much love for The Orange Tree in Richmond as they did such a huge amount for me as a designer when I was starting out and are incredibly welcoming and supportive with a real focus on artists well being. In Wales, it’s always going to be Theatr Clwyd. I’ve only been lucky enough to work their once, just before the pandemic, but they really opened their doors during the closure to freelancers, with regular check ins, bursaries for those of us who were struggling financially and generally are a great advocate for wells talent which I really admire.

Is Chris correct?

100%. I admire Chris Sonnex so much as a director and a human – he’s a great person who has passion and fight in all the right places, and he’s determined to make change. It is no secret that a Conservative government doesn’t support the arts – I don’t know why, they just don’t. As much as I admire people who don’t want to make art political I don’t think we have a choice anymore if we want to survive and make change. It is thanks to the choices this government made that a lot of us have ended up with very little income, grants or any level of financial stability mainly because they put the needs of themselves over others, and failed to listen to our industry leaders who were telling us this wouldn’t work. We shouldn’t be taking this lying down anymore.

I think outdoor work is incredible and should be seen more. Its a shame it took a pandemic to bring back the wonderful outdoor touring circus/festival vibe that appeals to so many people! I don’t think its a replacement at all for indoor theatre, but a complete alternative experience – although I think people avoid it due to the terrible unpredictability of British weather….

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

I don’t think it will ever harm the physical performance! Surely it just increases audience numbers and improves accessibility chances. A lot of us will still always prefer to see it physical, but perhaps cannot because of travel, financial ability and a variety of other reasons. You don’t see the NT struggling with audience numbers because of NTLive….

If we open up smaller performances to a much wider (and sometime international!) level I cannot see any reason that that wouldn’t be more successful than none at all once the initial costs were dealt with – which I appreciate is expensive but ultimately we’re improving access and that is so important and is the way we need to look at moving forward.

Dan Jones – Artistic Director, The Other Room Theatre

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

In the first instance I think some joy is needed, a celebration of the shared live experience that has been out of reach for so long. A reminder that when humans connect, creativity leads to magical and enriching experience. But that is not to say that it should all be sunshine and roses. I believe we have a duty to be honest. But if we can find hope in the truth it would be a much-needed remedy.

Which venue has a special place in your heart and why?

The Other Room of course. I have quite literally given my 20s to it and traversing the next 12 – 24 months to secure the legacies of Kate, Bizzy and everyone else this theatre has touched is very important to me.

Is Chris correct?

I think there is a lot of truth in that, and many ideas chime with my own. A word of caution on revolution, however. Access to opportunity in the arts is a colossal issue for the sector. Revolution requires sacrifice. It must be those with privilege that revolt, those who can shoulder the sacrifice, but at all costs they must protect fair and equitable conditions for those starting out and those from marginalised and less fortunate backgrounds.

To my shame, no. This isn’t an offering that has found me in my current circumstances. I think if the decision to be outside is earned creatively, that is to say it enhances the story that is being told, then I think audiences will lap it up. Meaningful and rich story telling can take place anywhere. The famous words of Peter Brook are the foundations of The Other Room, and with the uncertainty of our future I predict some exciting adventures that will expand our brand and creative horizons.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

Personally, I do not think digital offerings pose a great threat to theatre as we know and cherish it. I suspect a lot of people like me (who worked on and offered digital content) became fatigued by the offering pretty quickly. We are not filmmakers; we are theatre makers, and the live shared experience is the cornerstone of the medium. To me, digital offerings cannot compete with that. That isn’t to say elements of the digital experience cannot be incorporated. They just need to be earned creatively.

There’s no denying though that the digital offerings seen over the past year or so have made a lot of work accessible to those who would otherwise not have been able to consume it. Asking questions of all access barriers is only a good thing. For me that is what theatre can do, view digital offerings as a weapon to wield against access barriers and inequity. I keep faith that the commercial potential of digital theatre is capped and will not pose a meaningful risk to the live “physical” performance. This is a belief and opinion though, so perhaps as a contingency, if we all view the digital form as a tool for structural change maybe we will stay on track.

Branwen Davies, Playwright, Literary Manager, Sherman Theatre

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

I think venues, despite the complications and hardship of Covid, had a responsibility to keep in touch with their audiences and their freelancers during lockdown and to find a way to nurture and provide during the long months of lockdown. It’s been interesting to see how different venues and companies have done this and adapted and reacted as months went on. Dirty Protest for instance have been holding weekly ‘Writer Gyms,’ Pontio held a series of workshops and Theatr Clwyd had their outside stage and online play readings. I think the venues who have been successful will see a sense of loyalty and these audience members readily return and support. Some venues and companies have discovered that maintaining an online relationship and communication has enabled them to connect with new audience members and I hope that the ease and practicality of connecting online won’t be lost when venues re-open. Not everybody will be jumping at the chance to return to the auditorium and venues will need to be sympathetic to different needs and provide variety and options and to communicate with audience members. I strongly believe also that there needs to be a celebration of being able to reunite and return to venues and that venues provide joy, escapism, comfort and connection.

Which venue has a special place in your heart and why?

I was recently appointed as the new Literary Manager of the Sherman Theatre so perhaps biased but the venue does have a special place in my heart! I first performed at the Sherman in 1997 when I was a member of National Youth Theatre Wales and performed there as a RWCMD acting student. I have also had various plays performed at the Sherman (‘Dominos’ and ‘Gwagle’) and the opportunity to direct Criw Brwd’s ‘Yn ei Blodau’ in the studio theatre. I have led on the ‘Fresh Ink’ projects and the ‘Young Writers’ programmes in the past and benefited in taking part in writer groups at the Sherman led by Alan Harris and Brad Birch. I am very excited about the plans and productions in the pipeline and the voices and stories the Sherman are nurturing, celebrating and supporting. There is a breath of fresh air to the work and I am really looking forward to seeing how the Sherman can grow and evolve in this new theatrical landscape.

Is Chris correct?

Chris is correct! We need to be vocal and honest at how atrocious and incompetent the government in Westminster have been and continue to be. Theatre is powerful. It does have the power to transform lives and choosing not to support freelancers, artists, community and young people’s projects will have a long lasting and devastating effect on society. Yes, many sectors have been affected and yes the pandemic forced many difficult decisions but the Arts have suffered blow after blow and yet it was the Arts and artists that people turned to to survive during the lockdown! This is an industry that can adapt and respond and make things happen safely and effectively (have you met stage managers?!) but also an industry that has the power to heal and help make sense of it all as well as the ability to unite and bring people together. If we remain quiet, if we are not willing to speak up then we are in danger of losing a vital cog in what makes society work.

Outside work is nothing new but seems to be another alternative currently with our theatres closed. Theatr Iolo have created beautiful work for babies and young children – Baby, Bird & Bee and Hoof for instance. I’m excited that Os Nad Nawr, a company Wyn Mason and myself set up are currently co-producing a new play ‘Gwlad yr Asyn‘ (Donkey Land) with Theatr Genedlaethol Cymru. The play opens at the WMC on August the 10th and then tours outside venues including Theatr Clwyd, Plas Glyn y Weddw, Pontio, Pembrey Country Park and Aberystwyth throughout August. This has been made possible by venues collaborating and a real need and want to reach out to audiences starved of live theatre. The production is a part of a series of open-air shows at the various locations. There is a real festival feel to the productions and I think that we are hardy and experienced enough to enjoy outside entertainment whatever the skies throw at us!

One of my main joys regarding theatre is the ability to share the experience live with an audience. That is what I’ve missed the most. Sitting in the dark with strangers experiencing something in the moment and being moved and enthralled together and then discussing what we’ve experienced in the bar or the queue to the toilet after! However, I have enjoyed watching online theatre during lockdown, especially productions that were created specifically for an online platform and devised and experimented with the platform or retained a theatrical feel. Eddie Ladd’s ‘Fy Ynys Las’ was a great example as was Dirty Protest’s ‘Kill Me Now’ (which can be enjoyed again at the Edinburgh Festival – Summer Hall events) and Frân Wen’s ‘Faust + Greta.’

I’ve also enjoyed online productions streamed from venues and locations I probably could never have travelled to and I know venues have been able to attract new audiences by providing online streaming. I feel venues need to continue to develop online streaming and provide online options as it has huge implications with accessibility and attracting audiences who can’t or are uncomfortable travelling to the venue.

Zara Mader, Artist

With the roll out of the Covid-19 vaccines, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

I think they should make ticket prices more accessible regardless of where you sit in the theatre, consider the programming and who and what is commissioned.

Which venue has a special place in your heart and why?

I am quite fond of The New Theatre. Although the seating is snug, I’ve seen an array of plays there and I always feel like it’s a bit special.

Is Chris correct?

Yes I think what Chris says is fair and correct. The arts offer so much to people and bring so much money in to the economy and this government’s flippancy and incompetency is jaw dropping.

I have been to a couple of offsite film screenings and have been to the wonderful Minack Theatre in Cornwall so yes I could see audiences wanting it to continue. It adds another dimension to the theatre going experience.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

Yes I think venues should continue streaming performances if they can. It is particularly good thing to offer other theatres and possibly cinemas particularly if audience members cannot make the physical performances when and where they are originally on. These types of performances could bring new audiences in to the theatre and possibly give the idea that a job in the theatre is an option.

Owen Thomas Playwright

With the roll out of the Covid-19 vaccines, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

It is primarily going to be about restoring the confidence of the audience in the first instance. Things aren’t just going to pick up where they left off, so a cautious, pragmatic approach is key. The thing that makes the theatre so special, namely sharing a unique experience with a group of strangers, is the thing that has also made us vulnerable. I was lucky enough to see ‘Under Milk Wood’ at the National Theatre recently which showed me how it is possible to see work safely indoors. We sat in distanced pairs, we were safely marshalled in and out of the theatre and we all respected the Covid requirements. It felt a little odd, if safe. But when the lights went down and the show began we were all able to forget the world for a while. It was a profoundly moving experience and for the first time in a long time it gave me a sense of hope.

Which venue has a special place in your heart and why?

There are many venues in Wales that have a special meaning for me. Theatr Brycheiniog is where my theatrical career began, and the Sherman Theatre, Cardiff is where I was given the opportunity to develop. But because of the huge impact the building has had on so many aspects of my life, then The Torch Theatre in Milford Haven is incredibly special. Working with Peter Doran on both ‘Grav’ and ‘The Wood’ ultimately gave me the confidence to become a full-time writer, and for that I will always be grateful. I will always carry a torch for the Torch.

Is Chris correct?

Without question the Arts is one of the sectors that has been most overlooked in this pandemic. It is worth noting that one of the things that kept most people going during the lockdown periods was the arts in some shape or form, be in boxsets or podcasts or plays or music. We are a resilient and creative sector, but I do agree with the sentiment that it is time to fight for what we love. The thought that there are young people who have decided against a career in the arts because of this pandemic is very worrying as we depend on the talent and innovation of the next generation of artists. Before becoming a full-time writer, I was a Drama teacher for 20 years and I saw year in year out the enormous benefits that the subject, and other arts subjects has on the lives of young people. I find the governments plans to cut funding for Arts subjects in Higher Education to be yet another worrying sign of their attitude to us as a sector.

This week I am very excited to be going to see some outdoor theatre, namely ‘Hoof’ by Theatre Iolo. They are a brilliant company who I am incredibly excited to be developing an outdoor show for at the moment. Open air theatre can be an amazing experience, if somewhat restricted by the tempestuous British weather and the turn of the seasons. But there is clearly an appetite for people to see theatre outdoors. It can be an excellent way of keeping audiences engaged and another step on the road to building up their confidence to come back into a theatre again. There is a great tradition of outdoor theatre in the UK and some brilliant, innovative companies and performers out there, so yes, I think the appetite will remain strong.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

I think streaming is going to be a part of theatrical output for the foreseeable future. As people’s confidence rebuilds, this is a good bridge between the audience and the theatre. We recently filmed ‘The Wood’ and one positive was attracting audiences from further afield to the play.

In my opinion it will never replicate the feeling of being in a theatre, as the lights fade and the audience settles. But if it keeps work being developed and enjoyed by audiences then that can only be a good thing. Revenues are going to take a while to return to what they were pre-pandemic, so streaming becomes not only a way of continuing to engage with your audience, but also a source of much needed finances as the theatre begins to find its footing once more.

Alétte Fontaine, Playwright

With the roll out of the Covid-19 vaccines, the arts sector is hopeful audiences will return to venues. If venues want to attract audiences, what do you think they should do?

With the success of the vaccination programme against covid-19, we are starting to see a positive shift in attitude from the arts sector in regards to reopening venues. For a majority of people, the wearing of masks has become commonplace, though the government’s plans of asserting new “freedoms” and lifting restrictions has stirred inevitable concern for some members of the public, amid fears of spreading and catching the virus. In conjunction with the cautiousness and protection of perhaps the most vulnerable members of our society, would it not be sensible to continue the wearing of masks in enclosed spaces, if not so to decline the sheer volumes of people being required to self-isolate?

Furthermore, in order for theatres amongst other venues to reopen successfully, it may be worth reflecting on the pilot testing schemes such as the World Snooker Championship held at the Crucible earlier this year. The event held just under 1000 spectators, at full capacity during the final between Mark Selby and Shaun Murphy. Within this pilot testing scheme, 28 cases of Covid-19 were detected and tracked which helped to prevent further spread.

As always, the risk of infection is on the tip of everyone’s tongue, and to allow full-capacity audiences back into our venues, matching pre-pandemic conditions, could be a step too far. To welcome people back safely, providing evidence of a negative test is arguably one of the better ways for reassurance of both performers and viewers alike, and I believe being cautious with numbers as we slowly ease back into “normality,” may be the most suitable option moving into autumn and winter.

Which venue has a special place in your heart and why?

A venue I believe warrants a special place in my heart is the Sherman Theatre, based in Cardiff. Since 2016, I have undergone two minor shows as a young performer; now moving onto producing original work as part of their Introduction To Playwriting programme, led by Tim Howe.

The team have always been fully committed to producing new writing as well as elevating voices which have not had the platform they deserve, to share work and build relationships with the theatre. As a young playwright, it can be difficult to gain representation and respect in such a competitive industry, with many arguing you’re too inexperienced to be given a moment of presenting your work onstage. As such, I am beyond grateful for my local theatre to have supplied me with the chance of producing a monologue for online viewing, an audio drama and now being able to showcase alongside four professional writers as part of their autumn festival for new writing. With numerous guest speakers including but not limited to Tim Price, Catherine Paskell, Nerida Bradley, instructive tutors such as Branwen Davies, Matt Hartley, Katie Elin-Salt, Tim Howe, I have equipped authenticity and insight into honing my craft and knowledge about how the industry works.

Prior to Lockdown many venues did not stream any pre-recorded or live performances should they continue to do so and if so, how can they do this without harming their physical performance offer?

Pre-pandemic, it was uncommon to see shows streamed online, as theatre has predominantly, and will continue very much to be about the live aspect and atmosphere built in intimate venues. Taking away this live, physicalised aspect of theatre can also remove its integrity and emotional impact on an audience, as we often struggle to regain this sense of feeling from looking through a screen.

Despite this, earlier in the year I witnessed an online production of Rhiannon Boyle’s “Kill Me Now,” which was hosted by Dirty Protest theatre group. This was featured live via Zoom. Overall, I felt the formatting was successful and engaging with its audience, with the play’s subject matter of promoting funeral services bonding well with its webinar style.

After seeing this production, I now believe that physical theatre can work in collaboration with online performances, without hindering their physical performance offer. It may also be a good idea to suggest the recording of live productions in an archive which people can pay access to view, as with National Theatre’s “at home” platform.

Additionally, I believe after an introduction of my work being digital and the increasing number of digitalised performances, we should continue to explore theatre in all mediums, and often these online performances allow for better connectivity and accessibility, such as the use of closed captions, interpreters, audio descriptions, versus live theatre.

Art

“A Real Celebration of Creative Resilience” Designer Brad Caleb Lee on Your Voice at Wales Millennium Centre.

July 16, 2021 Guy O'Donnell Leave a comment

Hi Brad great to meet you, can you give our readers some background information on yourself please?

Hi Guy, it’s great to meet you and be here for the interview and to share some about the exhibition with your readers.

A transplant from Alabama, I’m a visual dramaturge with a diverse practice – from set, costume, and projection design to assistant directing to more management/producing/development roles across a variety of genres, from opera to theatre for young audiences to new and queer works. I am the resident designer for Chicago Fringe Opera; was the program coordinator for Prague Quadrennial 2019; run the online magazine Ascending focused on emerging theatre designers, scenographers, and visual dramaturges; designed the award-winning British pavilion Make/Believe at PQ 2015; and have had work selected for World Stage Design 2017.

For me theatre is the ultimate art of collaboration – which I define as the exploration of ideas that do not exist until everyone is in the room. Really great theatre (wether narrative, musical, dance, opera, physical, or any other type) thrives on the intersection of a diverse group of people bringing their talents together to create a unique experience for audiences, and I try to always approach my work in that spirit.

What got you interested in the arts?

Originally it was music – I have vivid memories of these concerts on public television with two nested grand pianos playing full orchestral scores, so for most of my childhood I wanted to be a concert pianist. This led into choir and eventually theatre. However, I have always been interested in both the theatre making itself and the wider system, having studied business management and organizational theory at the undergraduate level. I’ve also always had a deep love of literature and history which have fed into theatre, as well as growing up around some great storytellers.

Some examples of Brads work below

You are curating a new exhibition at the Wales Millennium Centre called Your Voice which runs from 22 July – 29 Aug 2021. On the WMC website, the exhibition is described as “During the first lockdown the Wales Millenium Centre invited people of all ages to share their stories and experiences during this challenging time through art. The call out captured the imagination of the nation, and you received hundreds of pieces that responded to lived experiences over the past year – from lockdown to Black Lives Matter, to reclaiming the environment and our hopes for the future. Artworks were sent from all parts of Wales – from Pembrokeshire to Newport, Builth Wells to Caernarfon, and by artists aged 4 to 90 years old. The pieces include paintings, spoken word recordings, digital art, photography, installation, mixed media and film.”

How did you decide what artwork to exhibit and what are your hopes for the project?

Actually we didn’t decide in most cases – that is to say that almost all of the art in the exhibition was submitted through the open call and there was no curation in regards to what was included – everyone who submitted has their piece on display! There are a few pieces which were commissioned from community-based artists and some pieces which have come to the centre through partner organizations or other community groups, but overall the exhibition has emerged from the wide range of work submitted through the “Voices of Change” open call. We have also really striven to treat each of the over 400 individual pieces with real integrity – treating each equally as a wonderful and exciting contribution and having all photographs and digital creations professionally printed.

A selection of artwork from the exhibtion below

What I was charged to do was more curating the experience looking at the visitor’s journey through the building and how the art would all be installed. We looked at a number of approaches and ultimately settled on a series of thematic galleries, which give some sort of narrative frame to each group of works. We have also tried to create a unique one-way journey through the building, which includes all the major public spaces, three different views into the Donald Gordon theatre (including walking through a tech booth), and number of interactive engagement points. I have sought to be inspired by the spaces in the building and to create dynamic conversations between the physical space and the works in being placed in them.

Examples of Brad’ design for the exhibition below

I hope that people get a sense of the diverse communities and groups that not only make up Cardiff but all of Wales and of the creative force that lives here. The exhibition should not only be reflective, but also a real celebration of the creative resilience that has lived on and thrived over the last 18 months.

Detail-of-Crocheted-Tree-by-Flow-Maugran

You are also exhibting work from the Theatre Design course at RWCMD, how did they come to be involved?

Actually, we are exhibiting work of emerging designers from 4 different courses across Wales –University of South Wales, Aberystwyth University, Coleg y Cymoedd, and RWMCD. We have some of the best training in the world for theatre designers in Wales, and many of the course have been industry leaders in the last year of finding ways to continue practical training and making work under all the COVID challenges, and I wanted to celebrate these amazing artistic incubators that contribute so much to Wale’s cultural life.

When I was offered the role of curator, part of it was a commission to design an installation to be part of the exhibition. Instead of which, I decided to showcase the work of these emerging artists working in Wales. The last year has particularly hit emerging theatre designers, who are often making less than minimum wage to begin with in addition to the emotional and mental stress that the industry places on those just starting out. And yet, there are a good number of designers who are working in Wales regularly with smaller fringe companies but are often overlooked by more established producers who go after London-based designers. So, I wanted to really bring some of these creatives to the forefront.

We are hoping that the general public gain a greater understanding of what designer’s do, with 4 of our designers offering more in depth looks into their process. It might also inspire some young people who have not considered theatre design to think of it as a possible career path or to pursue at university. There are so many opportunities developing now for those interested to get involved and for fresh voices to be developed, and I hope that this part of the exhibition plays some small role in encouraging people to become storytellers themselves.

You are an ex RWCMD student yourself what designers inspire you practice?

There are so many thst I find that really difficult to answer. Last summer I was on a podcast called Beyond the Lights and on listening back I realized I mostly just talked about other designers.

I’m definitely inspired by the work of Gary McCann and of the late Paul Brown, but also that of Sophie Jump, Vicki Mortimer, Stefano Poda, John MacFarlane, Colin Richmond, Leslie Travers, Luboš Hrůza, and so many others. I’m particularly interested in how different genres and disciplines intersect and can create new or more impactful audience experiences.

Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers that creatives in Wales face? If you are, what might be done to remove these barriers?

Specifically in theatre, I think there are three big barriers. One, at least as an emerging designer, is the list of skills that you need to even get someone to look out the window – let alone get your foot in the door – is immense and basically only acquirable through doing a good university degree, which are often competitive entry. However, courses like RWCMD are eager to have a greater range of voices on their courses, but really struggle in connecting with young people who might consider that a career. So the whole industry has to do the work directly and support degree courses in planting the seeds early with people from all socio-economic backgrounds that encourages and inspires them to pursue theatre as a career.

Secondly, the performing arts industry is almost exclusively operated on a “who you know” basis, so there is a huge pressure on networking and continuously putting yourself out there despite a continuous stream of rejection (or in most cases unanswered inquiries). Adverts for roles as a theatre creative (whether designer, director, or choreographer) are few and far between, with theatre’s inviting artists to make work with them most of the time. So it becomes a very insular system with breaking in being a game of sheer luck. When I moved back to Wales in autumn of 2019 I reached out to almost every company I could find in Cardiff and the surrounding area, some of whom I had met previously or had mutual connections that encouraged me to introduce myself, and only 3 even returned my emails, and all of those responses were “thank you for your interest but we have the people we like to work with and have our next three seasons already planned out”. I can’t think of any other industry like that.

And finally, there is a real barrier to establishing yourself in this career, which is now at least being discussed more widely thanks to platforms like Scene Change, but still in nowhere near as honest or dynamic terms as it needs to be addressed.

Most emerging theatre designers are working obscene hours – sometimes 60- or 80-hour weeks – making far less than minimum wage trying to make it all work and often getting almost no credit for their contributions to productions or projects. It is absolutely emotionally, mentally, and financially draining. Many of the people I would have said would be the greatest designers of my generation have already left the industry – people whose work was so beautiful that it would catch my breath and leave me speechless in brilliance far beyond their experiences – they have moved onto other brilliant careers, and that is terribly sad. The industry really is overdue a reckoning about career development and paying people a living wage at all levels.

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues and theatres. If theatres want to attract audiences what do you think they should do?

Venues and producers really need to consider and actively listen to their audiences. They need to find authentic voices and ways of connecting with those who they want to attend the work and ask themselves how they can better serve the communities that surround them, whether that is a small local organisation or one with a national pull. Far too often decision makers think they know what audiences want or engage projects which are only superficially giving voice but at the heart are quite hollow or ego driven by an artist. Why this story? Why now? And why is this person (or group of people) telling it?

And a big soap box of mine is don’t just ask global majority artists to work on or tell stories that are uniquely theirs. Engage artists and ask them what stories they want to tell and support them in doing so!

If you were able to fund an area of the arts in Wales what would this be and why?

It would definitely be smaller companies that are doing really dynamic work both in engaging young people and new audiences and those taking chances on new creatives! There are some really wonderful people working hard to produce work on tiny budgets and what they could do with more funding would really be industry shifting.

What excites you about the arts in Wales?

The shear breadth of quality work that happens across Wales. But also I look around and see so much potential – there are so many places, building, and institutions that are ripe for a renaissance of sorts and I hope that potential really blossoms into an even more dynamic and flourishing global arts scene.

What was the last really great thing that you experienced that you would like to share with our readers?

I got to sit in on a dress rehearsal of the RWCMD puppetry performances inspired by the Artes Mundi artists – there were some absolutely inspiring moments ranging from reflectively poetic to slapstick style comedy – the creativity and dedication of the first year designers never ceases to amaze me!

RWCMD students with their puppets. Credit Jessica Seren Jones

Film & TV

Artists enable care home residents to voice their experiences of the pandemic

July 10, 2021 Guy O'Donnell Leave a comment

A group of artists are working with Age Cymru to hold conversations with care home residents across Wales as part of a project to explore and capture how this group of older people experienced the pandemic.

The project, called Tell Me More, encourages residents to talk about what it was like to live in a care home during lockdown. Of course, for lots of older people it was a torrid time as many residents and care staff became seriously ill or even died through Covid 19.

Up until now, residents have had little opportunity to voice their experiences of the pandemic. Age Cymru worked with the artists to make contact with residents through Zoom and used open conversations to gather the residents’ thoughts, wishes and experiences.

As the conversations were taking place, the artists sketched a portrait of the resident and sent it to them as a thank you in recognition of their participation. The artists then applied animation software to the sketches and the recorded conversations to produce a unique and creative method of capturing residents’ voices.

So far residents from homes in Anglesey, Fishguard, Mold, Porthcawl, and Port Talbot have taken part in Tell Me More. With funding from the Welsh Government, Age Cymru will take the project to more care homes across Wales so it can capture the voices of more than 100 residents by December 2021.

Age Cymru’s chief executive, Victoria Lloyd says: “During the height of the pandemic, care home residents experienced some of the strictest lockdown conditions in Wales. Most residents were unable to receive visits from family and friends and, at the same time, they were unable to do any of their usual activities or visits. It was even more difficult for those residents who were transferred directly from hospital to the care home as not only were they cut off from their family and friends but they had little opportunity to socialise and get to know existing residents.

“It is crucial that we hear the experiences of residents and understand how they have felt over the last year. It is also wonderful to hear those experiences not just in peoples’ own words, but with the recordings, in their own voices too.

“Remarkably, some of the residents said their biggest concern was not being able to reassure their loved ones living outside of the care home. While others touched upon missing quite simple things such as going to the cinema, eating an ice cream at the sea-side or going to church.

“Tell Me More has given us a remarkable insight into how care home residents experienced lockdown and we look forward to hearing more of their voices in the months ahead.”

Deputy Minister for Social Services, Julie Morgan said: “Care Home residents have been some of the most affected by the pandemic. After being isolated from family and friends, it is fantastic that we have been able to fund a project which gives care homes residents a voice and brings their experience to life. It is vital we hear these stories as we look to move forward and recover from the pandemic.”

Dance

“Dance in Wales needs to have an equal place in how we see our cultural heritage. ” An interview with dance artist Gwyn Emberton.

June 28, 2021 Guy O'Donnell Leave a comment

Hi Gwyn, great to meet you, can you give our readers some background information on yourself please?

Hello there, lovely to meet you too. I am a choreographer, performer, teacher and, I guess, producer now too. I have mainly worked in contemporary dance and dance theatre.

What got you interested in the arts?

I was born and raised a borders boy in Montgomery in a tied-house to my dad’s job as a farm labourer. The arts didn’t feature at home, we didn’t have any books but watched a lot of telly. It was probably singing and performing in school plays and dancing folk dances in primary school, where the performing seed was sown.

I kind of fell into contemporary dance though after doing a drama GCSE at school. My friend who went on to Newtown college to do performing arts convinced me to try it for the acting but I took my first contemporary class and that was that. As is quite typical of coming from a farming background, I wasn’t particularly confident in speaking so doing and moving was a way for me to express myself and in a way I’d never been able to before. Whilst I was at college Diversions Dance Company (now National Dance Company Wales) came to give a workshop and performance where I met Jem Traeys (who was dancing with the company at the time). Jem encouraged me to think about taking dance seriously, it was then that I decided I would go to university to train as a dancer.

Although I knew I wanted to dance I had no idea how to make a career out of it. No one in my family had ever done anything like that before; they were all farmers or worked in the local factory. I needed a lot of support and help from my lecturers and because of them I eventually went to university in London. It was there that I first realised I might actually be any good. I loved how my body was developing, the feeling of being part of a family with my fellow students when we made work together and the sense of purpose and identity it was giving me.

After university, I went on to dance with some amazing companies both in the UK and Israel, was rehearsal director for some wonderful choreographers and I’ve also taught all over.

You are the Artistic Director of Jones the Dance (formerly Gwyn Emberton Dance) the organisation’s mission is “Extraordinary dance theatre that is globally inspired, made from the heart of Wales.” How did the organisation develop and what are you working on at the moment?

Originally Jones the Dance / y Ddawns was called Gwyn Emberton Dance. It was the company I set up in 2013 to create and tour my own group works. As the company grew over time, we started to do more and more things beyond my own work, such as our summer schools in Newtown and supporting other Wales based artists to lead or take part in the international projects we were involved in.

Particularly in our youth projects, including Quiet Beats our workshops for Deaf young people, I realised we were trying to create a place where dance was available to those who had little opportunity or felt dance just wasn’t for them, whether this was due to geographical barriers or being part of a community where you just didn’t dance.

https://youtu.be/kEGeqirgLqg

There is still little infrastructure for dance in Wales with less and less dance happening in schools and it is only down to a few really dedicated people that any dance exists for young people outside of the traditional local dance schools – something which was the case when I was young over 30 years ago. If we don’t change this it will be the same again in another 30 years and our young people won’t get to experience the joy, creativity and, in my case, the life changing opportunities that dance can offer.

We wanted to shift the company even more in this direction and with that we felt Gwyn Emberton Dance wasn’t the right name any more. So we changed it to Jones the Dance in April this year – ‘Jones’ because it’s a really common name that many of us in Wales identify with (half my family are Joneses) and ‘the Dance’ because it is a fun and lovely way of talking about someone and their job in Wales.

We are working on a few things at the moment, coming up later this year and into next. We are developing our youth projects Quiet Beats and Jones Bach to run more regularly throughout the year, looking at a dancers’ creative development project with some really cool partners across Wales, finishing my next work which will be a new dance film production that has been on hold since before the pandemic, and we are just starting to work on the next edition of iCoDaCo, the international collaborative project we are involved in, to start in 2022.

You can read review of (iCoDaCo), It Will Come Later, by Eva Maloes here

The dance sector and your work as a dance artist is inherently international, Brexit and Covid -19 must present some challenges, how have you worked to overcome them? Do you have any future plans for UK and international touring?

You are right, international work has always been a huge part of what we do. International collaboration is incredibly important to us and feels even more so since Brexit. With our colleagues at ilDance who initiated iCoDaCo, we have been talking about the implications of traveling and touring internationally before the pandemic. A significant part of the next project will be focused on how we can still collaborate but environmentally sustainably so. We are looking at what digital technologies we can use, how to share knowledge and experience across cultural, political and language borders.

With Brexit we are still trying to understand the implications it has for us as a small dance company. We are not sure what our options are yet for iCoDaCo and whether we can raise enough funding for it. The last edition of iCoDaCo we were eligible to be partners in European funding which meant we were able to access the huge potential for us as a small company to offer lots of people work in Wales, as well as bringing a huge project to audiences and the public here. It will be a devastating loss on so many levels if we can’t be involved, both to the artists who would work on the project and to audiences. We are happy that our colleagues in Europe still want us to be involved even though it will present them challenges so fingers crossed. We are determined to make it happen so watch this space.

With Covid, I have reimagined my new work for film instead of a touring theatre show. It will be shown in really exciting ways which has actually unlocked the possibility to share the work with different audiences in different spaces and communities all over Wales.

Between May 2018 and October 2020 Gwyn you were the Programme Director of Dance at University of Wales, Trinity Saint David.What was your approach to the course delivery and what aspirations did you have for your students?

I really wanted to make the course a place for those who had somewhere to go in Wales to train and study dance. We took a rigorous approach to training which was supported by theoretical and practical knowledge acquisition. I was very keen to make sure the students had lots of opportunities to work with a range of different artists from different backgrounds and in different styles, from Wales and internationally such as Moya Michael from Belgium, Kiani Del Valle from Berlin, Matteo Marfoglia, Zosia Dowmunt and Jonny Vieco from Wales and the UK for instance.

I was hoping that each student had the autonomy in how their degree developed by the time they left whether that was creatively/choreographically, academically, or through a dance health route. It is such a shame that this course will close, as will the one at University of South Wales. As a whole arts community we need to address this. It seems completely unfair that there will be no conservatoire or place to study and train in dance in Wales, when many courses in Welsh and English exist for theatre and music such as at Royal Welsh Collage.

We recently interviewed Kokoro Arts and shared their response to this question

If a dancer wanted to stay and train in Wales and then pursue a career, what support system would you suggest they require in order to be able to do this?

What would be your response?

There are no options at the moment as there is no training which I mentioned above. However, we need to think much more cleverly than just that. The whole infrastructure needs to be looked at for dance in Wales. It needs to have an equal place in how we see our cultural heritage in the same way that theatre and music is. Look at folk dance, probably everyone has done it in school at some point but then it just drops off. It should be the foundation for dance in Wales but there is nowhere to take dance further especially if you can’t afford to go to a local dance school. There are all these amazing youth groups around Wales but there is nowhere to take it beyond that. There is zero dance in secondary schools, no GCSEs or academic qualifications which are the most usual routes for kids to pursue dance later on.

Every dancer or person working in dance that I know in Wales is trying to link up, find creative ways to counter all the structural challenges we face but it just isn’t enough. It has to come from the government and the willingness to see dance as a cornerstone of a vibrant, varied Welsh cultural life and see its importance in and relevance in all of our lives. We need some kind of manifesto for dance that we can all get behind.

We have so many of the components already; community, professional, theatre, digital, street dance, contemporary, folk dance, twmpath, classes and performances. We just need to connect and build on them through education, the right support and a commitment to implementing the required infrastructure.

You also responded to the additional statement from Kokoro below on Twitter

“For organisations and project funded companies to regularly advertise for new dancers rather than turning to those they already know.”

You said the below, is there anything more you would like to add?

Absolutely!!! As Gwyn Emberton Dance & now @JonestheD we’ve done and will do this. We always advertise for new dancers but we also work with people we’ve worked with previously. We’re not in the luxury position of a regularly company that employs their dancers for the whole year and year after year. The artistic understanding you have with someone over years is just as important as the new relationships you build and also the opportunities you can create. It is a question of how to strike the balance between making sure we are creating opportunities for new dancers to work with us and develop as artists and the need to maintain and build a shared artistic practice over years. This has to be a consideration. We’re working with our board at the moment on developing our open call policy & this discussion is part of that.

As a project funded company we are limited in how often we can offer/create opportunities due to the sporadic and precarious nature of funding and how we work. We’ve lots of amazing plans coming up in the next few years but without support none of them will happen. My final thought on this at the moment as a choreographer it can be an isolated place so having relationships with long-term collaborators is hugely valuable just as it is so important to meet and support new dancers/artists who they bring their own richness to a creation.

I will add that there needs to be more opportunities across Wales for dancers and choreographers to develop their own work too. We have nothing like Wales Dance Platform any more, where I first presented my work in Wales, or Dance Shorts that Dance Blast used to run.

You can read a review of Wales Dance Platform 2014 by Hannah Goslin here

They were both brilliant opportunities to get your work and name out there and filled the diary with dance work for both choreographers and other dancers. There is nothing like this any more and we are all poorer for it.

Through the dancers’ creative development programme we hope to give a few dancers opportunities to develop their work, skills, networks which will also give other dance work too. However, this is only a small part of what needs to be available.

Thanks Gwynn, you are passionate about creating dance experiences for those who don’t usually access the art form. In October 2020 you set up the pilot project Quiet Beats, the dance workshops for young Deaf people and building on its success, the second week of workshops were held in February 2021. Do you have any learning you would like to share from this work and ambitions for its future development?

We knew we wanted to do this project for a while. We had been questioning why we had never met any young Deaf people in our summer schools. After some research and talking with Deaf colleagues in theatre we realised that there is this misconception that Deaf people can’t or shouldn’t dance which stopped young Deaf people taking classes or workshops, thinking it wasn’t for them or that they wouldn’t be very good. We were very conscious that we were coming into the Deaf community as hearing people and that people may feel wary of us so it has been about building relationships with group leaders, charities, parents and guardians and most importantly they young people who have taken part. There is still so much to do and so much for us to learn if we want this project to really take off with young Deaf people from all over Wales dancing any style in an environment where they are happy to let go and enjoy themselves.

We need to rethink what professional dance is and who makes it. Contemporary dance has become professionalised and has received a lot of support comparatively to other dance styles although not to other art forms. There are other dance styles which are reflective of other people’s experiences and backgrounds which need to have the same recognition. Linked to that I think the fact we don’t have dance as part of core education and there isn’t a conservatoire for dance in Wales really impacts the perception that dance can be a career. This is a barrier for everyone but particularly if you come from a community where dance isn’t seen as a profession or your style isn’t contemporary or ballet based.

Also, I dont know of, or am not aware of, any Welsh dancers who are Deaf or have hearing loss but maybe one day one or loads of our Quiet Beaters will become dance artists for Jones the Dance making their own projects. There needs to be more visibility of artists or people working in the arts who come from different backgrounds so that the younger generations of dancers coming through see it as a possibility. They need to have people to look up to and to speak with about their own careers.

Working in dance in a rural setting can be really challenging as there just isn’t the resources, space needed or other people to work with.

With the roll out of the Covid-19 vaccancies, the arts sector is hopeful audiences will return to venues and theatres. If theatres want to attract audiences what do you think they should do?

Take it slowly but start already!!!! Be imaginative, creative and curious with what you are offering. Trust and let us artists lead the way, as we have been thinking for the last 18 months how to make our work safe and secure for audiences. If sports can have fans then why can’t theatres open their doors.

If you were able to fund an area of the arts in Wales what would this be and why?

Obviously, dance. I would want to create more opportunities for people to be making more work, supporting them in making it more public and for it to be recognised. Perhaps a dance festival, digital and face to face, with lots of exciting opportunities for audiences to experience different types of dance and performances.

What excites you about the arts in Wales?

Wales has so many incredible artists, stories and experiences to share in their work, there are so many voices who we don’t hear from but also we have such a legacy of incredible experienced artists that show what a vibrant, creative and dynamic place Wales is.

What was the last really great thing that you experienced that you would like to share with our readers?

I have talked about it so much already but it has to be Quiet Beats. We invited Chris Fonseca to lead the week of workshops, he is a Deaf urban dancer and teacher.

He taught this super cool phase to the young people which they performed at the end of the week. I was so impressed with their focus and commitment, how they dealt with being on Zoom the whole time, and the development of their skills in just one week was phenomenal. One of the participants mum’s emailed me afterwards to say he hadn’t stopped dancing for the next week – there’s a dancer right there!

Thanks for your time Gwynn.

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Theatre

“I won’t lie, it is the best job in the world” An interview with Theatre Designer Cory Shipp.

June 5, 2021 Guy O'Donnell Leave a comment

Hi Cory great to meet you, can you give our readers some background information on yourself please?

I’m Cory, I’m 29 and I am a theatre designer. I was born in Wales and trained on the MA Design for Performance course at the RWCMD. I’m an avid houseplant collector, a lover of cats and a huge drinker of coffee!

What got you interested in the arts?

I was always really lucky, Mum had a huge interest in theatre and took me regularly to see shows of all different scales. I grew up listening the Les Miserables soundtrack and with both parents supporting me to go into it as a career.

I also had an incredible drama teacher who was my driving force. I can remember going to see the Shakespeare histories on cycle at the RSC on a trip and just being absolutely captivated about how the words literally came to life – I still believe Shakespeare should never be solely read. We created huge school shows on an assembly stage and a shoestring budget, with him spending all of his own hours building and scenery painting. His dedication to the arts and the creativity he showed me is absolutely the reason I do what I do today.

Prior to studying for an MA in Theatre Design at RWCMD you studied for a Degree in English and Drama at Cardiff Metropolitan University. Does your knowledge of text impact your approach to the design process?

Oh absolutely! Analysing text is a huge part of what we do, although perhaps not quite to the level of degree an English student does. I think reading is generally a very important skill for being a designer – we get through a lot of scripts a year and the ability to absorb them easily and quickly is an advantage. However I do occasionally get a little too analytical and technical, which can hinder the creative process slightly. Being incredibly practical is part of the job, but teaching myself to get out of the “organised and analytic” brain and into the “free imagination” one was a huge learning curve.

The Mikvah Project by Josh Azouz Orange Tree Theatre 28th February 2020 Director Georgia Green Designer Cory Shipp Lighting Designer Chris McDonnell Sound Designer Lex Kosanke Casting Consultant Sophie Parrott CDG Casting Co-ordinator Sarah Murray Cast Alex Waldmann as Avi Josh Zare as Eitan ©The Other Richard

The freelance sector has been hugely affected with the Covid-19 Pandemic and subsequent loss of work. How did this affect you and can you see things improving as the vaccine roll out continues?

It won’t come as a surprise to anyone that everyone in the arts was hit massively – myself included. I lost about 6 jobs over night to a point where I just turned my phone off and shoved it in a drawer to protect myself from the onslaught of sad news. It only got harder when I realised myself, and many others like me, didn’t qualify for financial help regardless of being self-employed for years.

It’s been a very hard year, but I have managed to try and find some positives. I spent a few months improving some skills, making masks, meetings friends I had put off for years due to being too busy and generally just took more time for myself.

I would like to think the vaccine rollout will move things forward to a place where we can do things that resemble normal again, but it will take time. For many of us, adapting to social occasions again will take time, and it’s important we remember that not everyone is ready for the welcoming hug in a rehearsal space.

There has been a great deal of discussion on new ways of working within the cultural sector as things improve. What ways of working would you like to see established, particularly for freelancers?

I’d like to think the industry will come back stronger – and there are signs of it. For the first time in years we are seeing freelancers and artists being put at the forefront of buildings (which is long overdue – its how most of us ended up adrift and poor during the pandemic) with schemes like the WMC Creative Associates

New Diorama creating free rehearsals spaces and development for freelancers and hopefully this is just the beginning. I want to see more open hiring (for anyone who hasn’t, sign up to Open Hire…) so that we get out of the bubble of the same creatives in the same buildings all of the time. I want to see more diverse teams, where everyone is treated with respect and with value.

Selfishly, I want to see better designers’ rights. We are hugely underpaid, have very little in terms of opportunities unless you know people, and ultimately for parents it’s even harder – how do you do tech working hours if you want a family and are seen as the primary caregiver? This isn’t just about women. It’s a long overdue conversation, but we need more resident designer opportunities, more open job adverts and more flexibility for working parents everywhere.

If someone wanted to stay and train in Wales and then pursue a career in Theatre Design, what would you advise them to do? Is a career in Theatre Design possible?

Networking is pretty much everything at the moment – who you know is half of the job. It isn’t the way it should be, but it is. Make an effort to introduce yourself to people who work in theatre, know who is making the work you like and see it so that you can talk about it. Absolutely train, you can do it without formal training, but a formal training centre will give you the boost not the industry that is so helpful – the RWCMD exhibition was a great step-up for us all. Yes it is possible – I’m managing it, and I never thought I would be able to. It’s hard, I won’t lie but it is the best job in the world. I am my own boss, I control my deadlines, I meet the best people and I get to create things that inspire audiences and thats amazing! Yes, the hours are really hard and the pay sometimes is awful – especially when you’re starting out, but its still worth it, just be ready to work incredibly hard and fight for your place. There are so many things we need to change in the industry but we need people to help us change it.

Which theatre designers inspire your creative practice?

Colin Richmond, first and foremost. I think there’s something beautiful about everything he does – even his costume sketches are a work of art.

Secondly – Anna Fleischle for her arduous work on women in theatre and being very honest about her experiences. Her work is also incredible in a very different way. For anyone unfamiliar, check out Hangmen at The Royal Court.

HANGMEN by Martin McDonagh
Royal Court Theatre, directed by Matthew Dunster
Design Anna Fleischle, Lighting Joshua Carr, Sound Ian Dickinson.

I’ve also got a huge amount of respect for Grace Smart, a designer who writes frequently in The Stage telling of her opinions on the rights of designers, the state of the theatre world and really opening the book up on how everyday is a challenge and as wonderful as the job is, it can be a challenge and a joy at the same time.

Grace Smart, photographic Credit David Monteith-Hodge, Stage Awards 2019

Can you share your approach to the design process? What would your normal working day consist of?

A normal working day? I don’t know if it exists! I spend a lot of time reading texts, and researching through various source books I’ve gathered over the year. Sometimes a design concept appears suddenly out of somewhere you would never expect to find it.

A little further down the line an average day consists of model making, slaving over my desk with tiny furniture and endless coffee. Either that, or online shopping and charity shop trawling for costumes, or sketching them in all sorts of different styles. Its why I love the job so much – a normal day just isn’t a thing, every day brings its own different set of tasks and challenges!

The biggest barrier I found working in Wales was how hard it was to get employed. Theres a systemic failing in British Theatre that to be seen as successful you have to have made work in London – its the only reason I moved, and sadly the move proved my point. Wales (and other regional theatres) need to make hiring more accessible, allow people to apply for posts allowing a wider range of candidates – give priority to Welsh and Wales based artists. I would love to see theatres give a show a year to a graduate or someone who graduated in the last 18 months in Wales and give them a shot to prove they can work professionally out of drama school.

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues and theatres. If theatres want to attract audiences what do you think they should do?

Ticket prices are a huge problem in terms of encouraging people in. It will be a hard few months in terms of audience confidence anyway, but a lot of people who normally go to the theatre will be significantly worse off than they were before. Opening previews with a Pay What You Can would be a great step to encourage people back, but I think we should also be open about what we are doing to make sure people are safe. Advertise the covid measures for cast, crew and audiences to encourage audience support. Audiences will return, live theatre is too unique of an experience to not be tempted!

If you were able to fund an area of the arts in Wales what would this be and why?

I’d love to see the development of new musicals coming from the land of song! Wales is known for its arts and culture, our male voice choirs, our language. We should use these skills and become known as the producer of new musical work – the industry needs it desperately, as well as a producing house to put it in. After all, we have some great producing houses – lets sponsor growing new talents.

What excites you about the arts in Wales?

Dual-language. I think it’s incredible that works can be seen in two languages and how we blend those together to create something is really special. I’m not a Welsh speaker, but I think the pride we have in our nation and our sense of patriotism is something truly special and to be able to present that in our own language through art is a truly amazing thing that I would like to see more of!

What was the last really great thing that you experienced that you would like to share with our readers?

I recently managed to see Cruise the Play here in London which was truly incredible. One man show, an hour and a half long, played by Jack Holden who also had various other roles in the production. He told the story of the AIDS crisis in the 1980’s through the eyes of two men who were diagnosed but the ending truly hit me. In a brilliant moment of stepping out of the dramatised narrative Jack tells of how he feared turning 30 through a pandemic (as if I’m honest, so have I) and that after walking through Soho in the current times during a health crisis of a different kind, he realised that he was lucky to be turning 30, when so many don’t get that chance. It really put perspective on the last year and what so many have lost.

Dance

“There’s a commitment to community dance in Wales which provides a framework of dance for everyone.” An Interview with Kokoro Arts Ltd

May 19, 2021 Guy O'Donnell 1 Comment

Hi Gundija and Krystal, great to meet you both, can you give our readers some background information on yourself please?

Gundija: I am an independent contemporary dance artist based in Cardiff. Originally from Latvia, I have trained and worked in dance in Denmark and England, but now I have found my home in Wales – I have been living and working here for over 5 years now. I am also the Executive Director of Kokoro Arts.

Krystal: I grew up in Bermuda, in a green bungalow with my seven siblings and our parents. I continued dancing at my local dance schools until I moved to Wales in 2012, to dance with Ballet Cymru. Currently, I’m a freelance dance artist, choreographer, writer and emerging director, based in Newport. I am the Artistic Director of Kokoro Arts.

What got you interested in the arts?

Krystal: The arts have always been a part of me, my maternal grandmother is a mixed media artist. She creates sculptures and paintings, and uses found objects and transforms them into intricate works of art. Her house is the most beautiful and colourful place I’ve ever experienced – hand painted floor rugs and walls covered floor to ceiling with her artwork. My grandmother’s sisters were all writers, musicians, poets and fashion designers. My mother is a writer and would paint the ceiling in our kitchen into the image of the day sky. Growing up I was always taught to think differently, creatively; the house was filled with books and blocks and painted walls. The arts are an integral aspect of my identity and culture.

Gundija: I have always been exposed to art when growing up – theatre performances, outdoor exhibitions, social cultural events, strong Folk dance and national singing traditions. Once dancing became my choice (rather than my parents) – I was exposed to different new dance styles, which led me to viewing dance as an art form not just a fun (and tough) movement activity. Through new international friendships – eventually collaborations – I started immersing myself into other art forms on a more professional level.

Together you run Kokoro Arts, the organisations mission is “Kokoro Arts supports and promotes the development and work of young artists, facilitates sector-wide discussion and champions inclusion, accessibility and diversity throughout the Wales dance sector.”

How did the organisation develop and what are you working on at the moment?

The organisation developed out of passion and love; passion for the arts and a love for Wales – its culture and the wide diversity of the people here. It developed through conversation; through seeing the gaps in the sector and finding a way that we could fill them. We saw that there was a lack of support for young/early career artists, and we each understood what that lack of support feels like. We decided that we wanted to connect those artists with opportunities, with the sector, and to offer support for their development.

We offer support to young artists through 1-2-1 sessions, bespoke advice and feedback, application and CV writing support, sharing monthly opportunities, and ensuring we offer an open door for any questions/concerns they have. Also, we build and support networks, individually and as a company. Through the company last year we facilitated dance sector conversations and through that, the Wales Dance Network was formed. The Wales Dance Network | Rhwydwaith Dawns Cymru continues to bring the Wales dance sector together and we’re part of that steering group. We began an EU Artist Network, to be a support to artists living away from their home countries, and to share contacts and networks within that group. These connections are very important to us and our work.

Currently, we’re working on an incredible Arts Council Wales funded ‘Connect and Flourish’ project – Emerging Artists: Access, Inclusion, Connection – which will offer five early career artists the opportunity to collaboratively explore how access and inclusion can be integral to their movement practice.

The programme is in partnership with Stephanie Back, Krystal Dawn Campbell, Eädyth Crawford, Matthew Gough, Chris Ricketts, and Ballet Cymru, The programme places anti-ableist actions and perspectives at the centre of developing the next generation of movement artists in Wales. Along with that, we’re working on an Erasmus+ project; a partnership between Finland, Latvia and Wales. It is a transnational, interdisciplinary project that aims to explore and exchange practices on using creative body-based approaches for social inclusion and community building. And finally, we’re collaborating with a Bermudian organisation on a research and development project. The History of Us | Ein Hannes Ni explores how artists from different backgrounds, cultures, and languages share their artistic process and practice through discussions and dance sessions.

Kokoro Arts has choreographed a new dance film for the National Dance Company Wales, Youth Dance company, The Associates. The project has been created entirely online and is inspired by the work of Artes Mundi 9 exhibiting artist, Prabhakar Pachpute. His practice “reflects on the working conditions, relentless excavation, unequal social development and land politics in his home state Chandrapur, known as ‘the city of black gold’.” Could you see any links between Prabhakars approach to Chandrapur and Wales in your work with the Associates?

Similarly to Prabhakar’s artistic approach to his work, we wanted the film we choreographed for ‘Now Begin’ to address issues that are pressing and important to young dance artists in Wales. In the film, they dance and speak about the change they want to see in the world – it felt really important to give them a platform to be seen and heard.

Prabhakar Pachpute, A march against the lie (IA)

As the project has been delivered entirely online due to Covid-19 how did you approach the choreographic process and working with the young dancers?

It was important to us to make sure that the creation process was as engaging and interactive as possible. Collaboration with the Associates was essential to us – we really wanted to give them ownership over their creative process as well as the finished work.

While we had previously engaged with some of the Associates, it was our first interaction for most of the Associates. We spent time in the first session finding out about who they were as people and as artists; what was important to them about not only this process, but also their artistic development and ambitions.

We facilitated time and space for them to comment critically on each other’s choreographic work within the session using Zoom’s chat function. In giving feedback, artists engage quite differently with the work. The critique isn’t about higher legs or more stretched ankles, it’s about expression and movement; how the work is created, how it comes across and translates to audiences. Even the filming of their choreography allowed for them to engage further in the creation process. Each Associate chose their own filming location, choreography, and camera shots.

The NDCWales Associates are one of a number of youth dance organisations in Wales. Do you feel the opportunities offered by these groups are of value?

Yes, I believe that these programmes are of great value. They can connect young people to dancers from other dance schools, other parts of Wales, and the UK, in a way that helps them to engage differently with their practice and development.

Youth dance organisations have the ability to offer young artists a space to learn from different dance artists who come to teach and to create work on them and to learn different ways of moving from what they’re used to.

However, each of these programme’s could do with a lot more boldness in the range of dance styles they are offering and the range of artists that interact with the youth artists. I would love to see a wider diversity of young artists audition and accepted onto these programmes. This would offer young artists a diversity of lived experiences to interact, engage with, and learn from.

Whimsy,Kokoro Arts Ltd. Credit Sleepy Robot Photography.

If a dancer wanted to stay and train in Wales and then pursue a career, what support system would you suggest they require in order to be able to do this?

Access to dance classes that would develop their skill-set continuously.
Sustainable ongoing support for their professional development rather than one-off engagements that have no continuity.
Mentorship and coaches to support their artistic practice and help them reflect on their career development.
Platforms and events that allow them to test their thoughts and creative practice at a variety of levels.
For organisations and project funded companies to regularly advertise for new dancers rather than turning to those they already know.
For organisations and project funded companies to have more paid apprentice positions or opportunities to observe and engage with them.
More public discussions about dance in Wales
A strategy for dance in Wales that helps the sector develop and therefore offer opportunities for those who want to remain here.
Undergraduate training would be a good option but isn’t necessary to become a professional dancer.

Are there any examples of training systems or support networks that exist in other nations that Wales could look to utilise?

This is difficult to answer, because each nation’s system reflects a particular context. What works in one place might not work in another.

In Latvia The Latvian Academy of Culture offers an undergraduate degree programme in contemporary dance with an intake every 4 years, which offers an increased intensity and focus to their education; however it does leave gaps in graduate years.

Irelands Step Up dance project for graduates aims to bridge the gap between dance education and professional contemporary dance practice in Ireland.

CAT schemes in England show how additional opportunities can be facilitated, but we would need to be careful that they don’t only offer routes to conservatories or serve those more privileged.

What does Wales do well in dance or cultural training and delivery?

There’s a great commitment to bilingual and multilingual work, including an emerging commitment to British Sign Language.

Wales has created an environment that allows visiting (short project) artists to feel like they want to stay here – live, work, and feel at home.

There’s a rich diversity of dance styles in Wales from Welsh folk dance, concert dance, and contemporary dance, to a wide range of cultural, social and competitive dance practices.

There’s a commitment to community dance in Wales which provides a framework of dance for everyone.

The Wales dance sector attracts international interest; for example, events organised by National Dance Company Wales, Groundwork Pro and Cardiff Dance Festival as well as Wales based dancers who have an international presence on their own.

You are both parents of young children working in the arts. Given that you are both freelance artists and parents the Lockdown period must have been very challenging for you in combining the demands on your time? How did you approach this?

Krystal: For me, it was the same when I decided I would be a parent in the first place. I decided not just that I was going to do it, but that I could do it. That decision doesn’t change what happens, but it changes how I experience what happens. Those days that my son needs me even more than usual, I leave work alone and make myself available to him. I decide that that’s not a work failure but a moment to enjoy rest and connection. Motherhood has made me far more efficient in my work. I’m not lethargic, because I don’t have the time to be. I am definitely more tired than I was before I had a child, but I’m also more passionate, I’m more eager, and I have far more resilience. I decide that I can do it, and that doesn’t mean I always do it perfectly but it means I don’t give up.

Practically, I take on the work that I can do and I’m honest about the work that I can’t do. I find opportunities to get work done at odd hours. It’s about being really flexible. Learning that I could schedule my emails has revolutionised my working! If anyone ever gets an email from me at 8am, it’s because I stayed up the night before really late, responding to all of my emails. Making lists helps so much. I have pages and pages of to-do lists – this means that the tasks are out of my head so I don’t have to feel overwhelmed by them. I can look and decide what’s important to do each day. Another thing that helps a lot is having deadlines for when my work is due. This helps me to know when I need to focus on a specific task and when I have time to focus on other tasks; it’s essential to my wellbeing.

Gundija: The lockdown period, especially the very beginning of it was challenging, yes. There were suddenly new roles I felt I needed to fulfil as a mother whilst trying to work at the same time. What helped me was the repeated reminder (that came from myself, family and even social media sometimes) that I don’t have to be able to manage everything at once. So I learnt how to manage my time better (or tried to) – for example, when there were work meetings, I would tell myself it’s OK if my daughter has longer screen-time so that I can focus. Being present as a mother, for me is a priority, so whenever my attention is split and I’m neither with my daughter nor fully at work, I get stressed. The only way to avoid that is to clearly set times/moments when I know I will focus mainly on work and be less present as a mom and then have clear times where I’m fully engaged in activities with my child. And similar to Krystal – making to do lists helps me as well. It lets me get out of the chaos in my head when everything feels ‘too much’ and see all I need to do nicely organised on a paper.

Given the challenges you described above what support would help Creatives in Wales with young familes?

Flexible working hours and the ability to have children in the room whenever safe. Working with people who try to understand the unpredictability of life with a child would help reduce the guilt often felt by working parents. Having the ability to job-share more often would also be really great – that way a parent can engage with less worry about child-care costs. Where possible, including child-care as access costs would make a massive difference. Often, in order to work and have your child cared for, you end up losing money. Even a contribution towards child-care costs would make a big difference.

It would also be great, if there were a few parents, that the project or organisation could facilitate a shared child-care arrangement on the premises. Even something more informal would be a huge support. Potentially a child-minder who could take on a few children with the organisation/project covering a portion of the costs.

Despite some changes, there is still systemic excluding around multiple characteristics. The system needs to act on equality not just talk about it.

Cultural Contracts and Arts Council Wales requirements for Portfolio organisations are a step forwards, but there needs to be deep thinking and radical doing to shift our perception of who is and who can be an artist.

A big issue is that not enough new job posts are being advertised, so those who are most marginalised are at a constant risk of precarious work, (hourly paid staff, fixed contracts, not secure in their position) so they don’t have time and space to develop their artistic practice.

With the roll out of the Covid-19 vacancies, the arts sector is hopeful audiences will return to venues and theatres. If theatres want to attract audiences what do you think they should do?

Gundija: I don’t think Vaccine Passports are a good idea. I have found live streaming performances alongside live events works well, so those who cannot attend physically, can still access it. It would be good to organise events for different specific audiences – perhaps have a coach that would pick up a group of members from a specific area. I think Venues should lobby the government so that our return to theatre spaces can be equitable. Perhaps there are ways of reducing costs for people who might struggle to attend or engage? And I think co-creating with people and communities might help us return together in a sustainable way.

Krystal: I think venues and theatres should continue to get even more creative about how they offer arts performances and engagement opportunities to audiences. Clearly outlining safety measures in place, more performances in public spaces, and shorter performances to offer more audiences an opportunity to engage safely.

It’s great to see many venues and theatres taking advantage of their outdoor spaces to engage audiences safely.

If you were able to fund an area of the arts in Wales what would this be and why?

Gundija: My priority would be to fund continuous support for early career artists. A scheme that would provide mentoring and opportunities for them to develop their artistic practice, give space to share their work and learn how to reflect on their practice and critically discuss it.

Krystal: I would fund disability arts. It’s important to me that all people are able to access and engage in the arts. I believe that the most effective way to develop and innovate as artists and as a sector is to engage closely with those who are different from us. Disability arts, and ensuring a diversity of disabled people are a part of this, would ensure a wider diversity of voices sharing and imparting into the sector, strengthening us all as well as developing audiences in Wales and beyond. I would love to see Wales become leaders in innovative disability arts. So often, within disability arts, people are still marginalised and forgotten. I am passionate about seeing Wales changing this – not becoming complacent but continuing to push towards more inclusion and an active respect and appreciation for difference.

What excites you about the arts in Wales?

Gundija: What excites me the most is definitely the potential I can see and feel in the Arts sector in Wales. Potential for the sector to grow, develop and co-create a Welsh identity that’s built on a strong support network for one another, diverse voices and inclusivity.

Krystal: I’m really excited about Theatr Iolo’s solar powered travelling theatre and the potential long-term possibilities for this kind of touring and showcasing work.

Aubergine Cafe’s unyielding commitment to offering opportunities and development to neurodivergent people.

Literature Wales and National Dance Company Wales’ cross artform collaboration for Plethu/Weave; their commitment to offering a wide range of artists the opportunity to be commissioned and to collaborate.

Articulture Wales’ consistent commitment to offering opportunities to under-represented artists.

Ffilm Cymru offering opportunities to develop a new generation of diverse film-makers.

Arts Council Wales’ Connect and Flourish funding strand – we need more real collaboration in the sector and even more so need a stronger commitment to Black, disabled, and Welsh speaking people.

Music Theatre Wales’ New Directions Programme which will address the urgent need in opera to diversify the experiences and voices and the types of people who engage and make opera.

Yvonne Murphy’s co-creation and curation of new forms of engagement with democracy with 16-24 year olds on her Democracy Box project.

The Wales Dance Network|Rhwydwaith Dawns Cymru bringing the dance sector together.

What was the last really great thing that you experienced that you would like to share with our readers?

Our Voice Network | Rhwydwaith Ein Llais sharings have been an incredibly valuable and enjoyable space to be a part of. I feel that’s exactly what the sector needs – informal sharings of artist practices, a safe, supportive space to listen to artistic process and to ask questions. Each month this space is a place to enjoy the beauty of being artists; and each month the value of being a part of this space is clear.

Thanks for your time.

Get the Chance supports volunteer critics to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.

Dance, Theatre

“Rwy’n cael fy nhynnu at nodweddion emosiynol a chorfforol y profiad dynol.” Cyfweliad â Hanna Lyn Hughes.

May 8, 2021 Guy O'Donnell Leave a comment

Helo Hanna, mae’n braf i gwrdd â chi. Allwch chi roi rhywfaint o wybodaeth i’n darllenwyr am eich cefndir os gwelwch yn dda?

Rwy’n ddawnsiwr llawrydd o Gaerdydd. Fe wnes i hyfforddi fel Aelod Cyswllt o’r Ysgol Ballet Frenhinol a Chwmni Dawns Cenedlaethol Cymru cyn mynychu Ysgol Ddawns Gyfoes Llundain yn 18 oed. Rwyf wedi gweithio gyda choreograffwyr gan gynnwys Crystal Pite, Caroline Finn a Dane Hurst ac wedi dawnsio gyda chwmnïau fel y Danish Dance Theatre a Just Us Dance Theatre, ac yn ddiweddar rwyf wedi ymuno â Ballet Cymru fel dawnsiwr cwmni.

Beth sbardunodd eich diddordeb yn y celfyddydau?

Rwyf wedi bod yn greadigol erioed. Gan amlaf yn yr ysgol, roeddwn yn dwdlan dros fy ngwaith cartref mathemateg ac yn creu dawnsiau disgo ar iard yr ysgol. Roeddwn hefyd wrth fy modd yn astudio Tecstilau a Drama Safon Uwch.

Rydych chi’n ddawnsiwr cwmni gyda Ballet Cymru ac ar hyn o bryd rydych chi’n gweithio gyda nhw i edrych ar ffyrdd o gefnogi cyflwyno dawns yn yr Iaith Gymraeg. Beth yw eich gobeithion a’ch uchelgeisiau ar gyfer y fenter newydd hon?

Yn dilyn cyfnod prawf llwyddiannus, rydym yn gyffrous i ail-ddechrau’r dosbarthiadau ballet dwyieithog i oedolion ar ôl y Pasg. Rwyf hefyd wedi bod yn dysgu Cymraeg i rai o aelodau’r cwmni; mae eu hyder wrth siarad yr iaith wedi cynyddu ac mae eu brwdfrydedd wedi bod yn galonogol iawn. Rydym bellach yn edrych ar fwy o ffyrdd o ymgorffori ymarfer dwyieithog ac mae hynny wedi cadarnhau i mi mai addysgu dawns yn ddwyieithog ddylai fod y ‘norm’ yng Nghymru. Os ydych yn ymarferydd dawns yng Nghymru, rwy’n erfyn arnoch i ystyried sut y gallwch ddefnyddio’r Gymraeg yn eich sesiynau. Gyda bron i 30% o’r boblogaeth yn gallu siarad a deall Cymraeg, mae’n werth yr ymdrech.

Pe bai dawnsiwr am aros ac ymarfer yng Nghymru cyn dilyn gyrfa, pa system gymorth fyddech chi’n awgrymu y byddai ei hangen arnynt er mwyn gallu gwneud hyn?

Mae mynychu eich ysgol ddawns leol yn le gwych i ddechrau ac os ydych yn ddigon ffodus i fod wedi’ch lleoli yn Ne Cymru, efallai y gallwch fynychu’r cynlluniau cyswllt sy’n cael eu rhedeg gan CDCCymru a Ballet Cymru. Ond nid yw’n bosibl hyfforddi’n alwedigaethol hyd at lefel broffesiynol yng Nghymru ar hyn o bryd, sy’n drueni mawr!

Llun o gynlluniau cyswllt Ballet Cymru
*Clod i* Sian Trenberth

O ran dilyn gyrfa mewn dawns, yng Nghymru, rwyf wedi canfod bod deall fy sgiliau a’r hyn y gallaf ei gynnig i sector Dawns Cymru yn bwysig iawn. Er enghraifft, mae cydnabod yr angen am ymarferwyr dawns sy’n siarad Cymraeg a darparu’r gwasanaeth hwnnw wedi fy ngalluogi i ennill profiad o greu coreograffi ac addysgu, ac mae wedi bod yn achubiaeth ariannol hefyd ar adegau. Wedi dweud hyn, rwy’n teimlo fy mod i’n cael fy ngwerthfawrogi a’m hystyried ar safon wahanol fel dawnsiwr oherwydd fy nghenedligrwydd a’r ffaith fy mod i’n siarad Cymraeg. Rwy’n teimlo’r un mor lwcus i gael cyfleoedd gan fy mod yn Gymraes, ond rwy’n poeni weithiau bod fy ngwaith yn cael ei werthfawrogi ar y sail honno’n unig. Rwyf wedi dod i delerau â’r teimladau hyn trwy groesawu’r llwyfannau sy’n cael eu cynnig i mi a’u hystyried fel cyfleoedd i herio rhagdybiaethau, ac i ragori ar ddisgwyliadau mewn rhai achosion. Rwy’n angerddol am fy etifeddiaeth a’m diwylliant ond nid yw’n diffinio fy ngwaith na’m hunaniaeth.Rwy’n angerddol am fy etifeddiaeth a’m diwylliant ond nid yw’n diffinio fy ngwaith na’m hunaniaeth.

Rydych chi’n artist sydd wedi gweithio gyda phobl greadigol o amrywiaeth o ffurfiau celf i greu perfformiadau artistig cyffrous yn y gorffennol. Sut fyddech chi’n disgrifio’ch ymarfer creadigol orau?

Rwy’n defnyddio ioga, hedfan yn isel a gwaith byrfyfyr yn fy ymarfer fy hun ac mae ansawdd fy symud fel arfer yn cael ei alw yn llyfn a chywrain. O ran coreograffi, rwy’n cael fy nhynnu at nodweddion emosiynol a chorfforol y profiad dynol, yn enwedig themâu marwoldeb a chreu. Rwy’n edrych ymlaen at ddatblygu’r syniadau hyn yn y dyfodol.

A oes unrhyw enghreifftiau o systemau hyfforddi neu rwydweithiau cymorth sy’n bodoli mewn gwledydd eraill y gallai Cymru geisio eu defnyddio?

O ran systemau hyfforddi, dim ond dros y ffin i Loegr y mae’n rhaid i chi edrych i weld rhai enghreifftiau rhyfeddol. Byddai mentrau’r llywodraeth fel y cynllun CAT yn fuddiol iawn i Gymru, i fynd i’r afael â materion fel hygyrchedd a chysondeb mewn hyfforddiant. Mae angen sicrhau bod mwy o lwybrau ar gael i bobl ifanc sydd ag angerdd am symud i ymgymryd â gwaith creadigol ac ehangu eu haddysg dawns. Mae hyn hefyd yn cynnwys cael rhaglen hyfforddiant galwedigaethol i astudio dawns ar lefel broffesiynol.

Mae Get the Chance yn gweithio i gefnogi ystod amrywiol o aelodau’r cyhoedd i gael mynediad at ddarpariaeth ddiwylliannol. Ydych chi’n ymwybodol o unrhyw rwystrau y mae pobl greadigol yng Nghymru yn eu hwynebu? Os ydych chi, beth ellid ei wneud i gael gwared ar y rhwystrau hyn?

Un o’r rhwystrau rydw i wedi bod yn ymwybodol ohono’n y gorffennol fu’r diffyg ystyriaeth i ymarferwyr dawns mewn ardaloedd mwy gwledig yng Nghymru. Gan fod sefydliadau wedi gorfod addasu i ddulliau digidol o gynnal neu ffrydio eu digwyddiadau, mae’r ymarferwyr dawns hyn o’r diwedd wedi gallu mynychu digwyddiadau na fyddent wedi gallu mynd iddynt yn y gorffennol. Rwyf hefyd yn bersonol wedi gwerthfawrogi fy mod yn gallu cyrchu a gwylio perfformiadau wedi’u ffrydio’n fyw ar-lein ac er gwaethaf pwl achlysurol o ‘flinder Zoom’, rwy’n dal i obeithio y bydd sefydliadau’n parhau i gynnig o leiaf rai agweddau ar weithio/perfformio ar-lein.

Pe byddech chi’n gallu ariannu maes o’r celfyddydau yng Nghymru pa faes fyddai hwnnw a pham?

Mae angen dirfawr am arian mewn llawer o feysydd ond hoffwn weld rhaglen hyfforddi broffesiynol gynhwysol ar gael yng Nghymru yn ogystal â gofod i uno lle gall dawnswyr greu, addysgu a pherfformio gyda’i gilydd (rhywbeth fel Dance City yn Newcastle)

Beth sy’n eich cyffroi am y celfyddydau yng Nghymru?

Mae wedi bod yn gyffrous gweld cymuned ddawns Cymru yn gweithio gyda’i gilydd i sefydlu cymuned fwy cysylltiedig o ddawnswyr trwy ddigwyddiadau rhwydweithio a thrafodaethau ar-lein. Edrychaf ymlaen at weld sut mae’r cysylltedd hwn yn digwydd yn Sector Ddawns flaengar ac amrywiol Cymru.

Beth oedd y peth gwirioneddol wych olaf i chi ei brofi yr hoffech ei rannu gyda’n darllenwyr?

Gwylio Revisor Crystal Pite a “BLKDOG” Far From the Norm fel rhan o Dance Nation. Mae’r ddau yn ddarnau rhyfeddol, ac maent ar gael i’w gwylio am ddim ar Iplayer.

Dance, Theatre

“I find myself drawn to both the emotional and physical characteristics of the human experience” An Interview with Hanna Lyn Hughes.

May 7, 2021 Guy O'Donnell 1 Comment

Hi Hanna, great to meet you, can you give our readers some background information on yourself please?

I’m a freelance dancer from Cardiff. I trained as an Associate of The Royal Ballet School and National Dance Company Wales before attending London Contemporary Dance School at 18. I’ve worked with choreographers including Crystal Pite, Caroline Finn and Dane Hurst and have danced with companies such as Danish Dance Theatre, Just Us Dance Theatre and have recently joined Ballet Cymru as a company dancer. You can find out more about me at my website

What got you interested in the arts?

I’ve been creative as long as I can remember. At school, I was more often than not doodling over my Maths homework and choreographing disco dancing routines in the school yard. I also loved studying Textiles and Drama at A Level.

You are a company Dancer with Ballet Cymru and are currently working with them to look at ways to support dance delivery in the Welsh Language. What are your hopes and ambitions for this new initiative?

Following a successful trial period, we’re excited to bring the bilingual adult ballet classes back after Easter. I’ve also been teaching Welsh amongst the company members; their confidence in speaking the language has grown and their enthusiasm has been really heartwarming. We’re now looking at more ways to incorporate bilingual practice and it’s solidified my belief that teaching dance bilingually should be the norm in Wales. If you are a dance practitioner in Wales, I implore you to consider how you can include the use of the Welsh language in your practice. With almost 30% of the population able to speak and understand Welsh, it seems worth the effort.

If a dancer wanted to stay and train in Wales and then pursue a career, what support system would you suggest they require in order to be able to do this?

Attending your local dance school is a great place to start and if you’re fortunate enough to be based in South Wales, you may be able to attend the Associate schemes run by NDCWales and Ballet Cymru. But it’s not currently possible to train vocationally in Wales to a professional level which is a huge shame!

Ballet Cymru Associates, copyright Sian Trenberth Photography

In terms of pursuing a career in dance, in Wales, I’ve found understanding my skills and what I can offer the Welsh Dance sector to be really important. For example, recognising the need for Welsh speaking dance practitioners and providing that service has allowed me to gain choreographic and teaching experience and has at times been a financial lifeline. Having said this, I feel that as a dancer, I’m sometimes valued and held up to a different standard because of my nationality and the fact I speak Welsh. I feel equally lucky to be given opportunities because I’m Welsh but sometimes anxious that my work is valued exclusively on that basis. I’ve come to terms with these feelings by embracing the platforms I’m offered as opportunities to challenge assumptions and in some cases, surpass expectations. I’m passionate about my heritage and culture but it doesn’t define my work or my identity.

You’re an artist who has in the past worked with creatives from a range of art forms to create exciting artistic performances. How would you best describe your creative practice?

I draw upon yoga, flying low and improvisation in my own practice and my movement quality is usually described as fluid and intricate. In terms of choreography, I find myself drawn to both the emotional and physical characteristics of the human experience, in particular themes of mortality and creation. I’m looking forward to developing these ideas in future.

Are there any examples of training systems or support networks that exist in other nations that Wales could look to utilise?

In terms of training systems, you only have to look across the border to England for some amazing examples. Government initiatives like the CAT scheme would be very beneficial for Wales, to tackle issues like accessibility and consistency in training. There needs to be more pathways made available for young people with passion for movement to engage in creative work and broaden their dance education. This also includes having a vocational training program to study dance at a professional level.

Get the Chance works to support a diverse range of members of the public to access cultural provision. Are you aware of any barriers that creatives in Wales face? If you are, what might be done to remove these barriers?

One of the barriers I’ve been aware of in the past has been the lack of consideration for dance practitioners based in more rural areas of Wales. With organisations having had to adapt to digital means of hosting or streaming their events, these dance practitioners have finally been able to attend events that they wouldn’t otherwise have been able to in the past. I’ve also personally really valued being able to access and watch live streamed performances online and despite the occasional bout of ‘Zoom fatigue’, I still hope organisations continue to offer at least some aspects of working/performing online.

If you were able to fund an area of the arts in Wales what would this be and why?

There are lots of areas in desperate need of funding but I would particularly like to see an inclusive professional training program available in Wales as well as a unifying space in which dancers can create, educate and perform together (something like Dance City in Newcastle)

What excites you about the arts in Wales?

It’s been exciting to see the Welsh dance community working together to establish a more connected community of dancers via online networking events and discussions. I look forward to seeing how this connectivity materialises in a progressive, diverse Welsh Dance Sector.

What was the last really great thing that you experienced that you would like to share with our readers?

Watching Crystal Pite’s Revisor and Far From the Norm’s “BLKDOG” as part of Dance Nation. Both extraordinary pieces, available to watch for free on BBC Iplayer.

Theatre

BSL and captioned review, John Fraser-Natale reviews Fow by Deaf & Fabulous Productions & Taking Flight Theatre Company in A co-production with The Welfare & Theatrau Sir Gâr

May 4, 2021 Guy O'Donnell Leave a comment

In this review John Fraser-Natalie reviews the latest production from Deaf and Fabulous Productions and Taking Flight Theatre Company.

You can find out more about the production here

Literature

LOVEREADING LITFEST PARTNERS WITH THE RIVERFRONT THEATRE AND ARTS CENTRE AND NEWPORT LIVE IN WALES TO HIGHLIGHT THE EXPERIENCES OF REFUGEES AND ASYLUM SEEKERS

April 19, 2021 Guy O'Donnell Leave a comment

LoveReading LitFest, the recently launched, digitally native, subscription-based books and literature festival, has partnered with Newport Live – a charitable trust providing cultural and sporting activities in Newport, Wales – to support the launch of the critically-acclaimed debut novel Many Rivers To Cross by Dylan Moore at an exclusive event. The talk will be live on LoveReading LitFest tomorrow.

The author, who is the editor of the welsh agenda, was interviewed about his new book by Sharif Gemie, with the session filmed at The Riverfront Theatre and Arts Centre, right in the heart of the city centre. Sharif Gemie is a former Professor of History. He mainly researched people on the move, whether refugees (Outcast Europe, 2011), Muslims in Europe (French Muslims, 2010) or hippy travellers (A History of the Hippy Trail, 2017). He lives in Newport and is currently writing a novel set among UN aid-workers in Germany, 1945—46.

Written following a period volunteering at the Sanctuary Project in Newport, and partly based on interviews with asylum seekers and refugees, Many Rivers To Cross traces a series of journeys – migrations across time and space – from the streets of Pillgwenlly, Newport to the ‘Jungle’ camp at Calais, and from Ethiopia to the island of Lampedusa. Described by Welsh novelist, poet and translator Siân Melangell Dafydd as “an essential story for an age of migration”, the novel takes the reader to places most of us have never been, and would never wish to go.

The event also featured contributions from two refugees originally from Ethiopia, now settled in Newport. Biniyam Birtukan talked about how his work as a freelance magazine journalist in Ethiopia became impossible due to issues around freedom of speech, his role in establishing the famous St Michael’s Orthodox Church in the ‘Jungle’ camp at Calais, and the satisfaction he has found working as a healthcare assistant since being granted leave to remain in the UK. Yohannes Obsi talked about his mixed heritage background and how his support for the formerly banned opposition group the Oromo Liberation Front landed him in government detention, from which he escaped to make a dangerous journey through Sudan, Libya, Italy and France to reach the UK.

Paul Blezard, Festival Director at the LoveReading LitFest, said: “Dylan’s powerful new novel does something extraordinary. It takes us beyond the screen images that have filled us with horror and compassion for too long and straight into the hearts, minds, hopes and fears of those who are forced, or choose, to undertake life-risking journeys towards safety and sanctuary. We are so honoured and privileged to host Dylan, Biniyam and Yohannes and to support them through this important event.”

Alan Dear, Head of Theatre, Arts, and Culture at The Riverfront Theatre, Newport Live said: “TheRiverfront is delighted to make this new partnership and as we start on the long journey of Covid-recovery we hope that literature will form a core part of our future programme. We now have the capacity to provide content digitally and hope that this will provide pleasure to our new and current audiences until a time when we can reopen our doors again.”

Many Rivers To Cross by Dylan Mooreis published by local publisher Three Impostors at £10

Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw