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.

“Art is about People and isn’t Something that Should be Contained by Old Notions of Performance and Presentation.” An interview with Daisy Howells

Hi Daisy, it’s lovely to meet you and to get the opportunity to pick your brains. So just to introduce yourself to our readers, please can you give them some background on yourself and how you define yourself as an artist?

Hey Guy! Yes, so I am a Contemporary Dancer/Director based in Manchester. I trained at the Northern School of Contemporary Dance where I graduated in 2018 with a Masters in Contemporary Performance.

I am Welsh born and proud, so split my time between working in North Wales and across the North of England. My work is a whole mix of things really, from teaching to choreographing, to performing professionally and directing my own company. I like to spin many plates!

At the moment my artistic practice is very much based in collaboration, working heavily with digital creators, movement makers and sound artists. Concerning a definition, I am a person whose artistic world is constantly changing, so I am more of a chameleon than anything else! I like re-developing and re-branding who I am as an artist. I don’t like getting boxed in. So with my practice as a maker, teacher and mover, I feel like I have my own specific interests and style, but also something tangible that is reactive to the situations and people around me.

Your company has a Virtual Performance Party on the 28th of August. You will be premiering your new work, ‘Night People’, which is described as a “visual art, rave inspired, dripping with dance and bass, screen-dance film! Inspired by nightlife adventures and underground club nights, we bring to you an evening of music, movement and misfit mayhem!” This sounds like an exciting event! Can you tell me more?

 
Of course! This is all very exciting as it is the first time myself and collaborators have made a purely digital work, made for screen. I currently work within a trio, consisting of myself (Director of Brink Dance Company), Animation Powerhouse ‘Howl Creative’ and Composer ‘LSMarley’. Together we make cross-collaborative performance work that focuses on the electric blend of animation, visual art, contemporary dance and sound. We draw upon the themes of Rave Culture and the Dnb scene, bringing to life these underground landscapes of community, escapism and midnight mayhem. We began our collaborations whilst training in Leeds, with our passions to bring contemporary art to a new scene of young people and venues uniting us together. Over the years we have worked in various Club settings and Theatres, alongside showcasing our work in Churches, Bars and Shopping Centres.

www.anniefengphotography.com

Our new work “NIGHT PEOPLE” is our latest ambition, commissioned by Social Conventions London. The whole event aims to bring the night out to your night in, offering an insane mix of dance work, visual creations and DJ sets direct to your screens. We are fiercely attempting an online festival line up, one that follows the storyline of a collection of Pro Ravers on their night out, whilst showcasing a range of DJ and Visual Art sets in between. The whole event is geared towards those missing the party scene and the nightlife culture. However this event is also geared towards those interested in Digital Art, DJ mixes, Animation, Motion Capture, and simply for those who want a fun and energetic Friday Night to enjoy! Tickets can be found on our Facebook Page at Brink Dance Company and cost as little as £1. This is a brand new look at how we can create connection and party via this new lockdown world, so come and join the movement!

Artists features include sets by the incredible DJ and Visual Artist, Izzy Bolt, a completely new soundscape of Dnb/Experimental goodness by LSMarley, Movement & Groove from the phenomenal dancers Iolanda Portogallo and Maya Carrol, Digital Creations and Film from the fantastic Howl Creative and much much more….

Contemporary Dance can be perceived as an elitist art form do you think your practice seeks to break down any perceived barriers?

Completely. Coming from a very traditional dance background, I will always have a love for pure dance on stage, with the theatre audience watching and bows at the end. However as I began figuring out my movement style whilst training, I realised this didn’t always connect with me. My experiences dancing at raves, exploring the club scene and finding connection in these places of music and groove, were the reasons my love for dance and performance grew. I found my feet. I found a place where my body understood how to move. I found a style that expressed who I truly was. And it was amazing. From then on, I wanted dance to move from a place of tradition and bring it to a new scene of people, locations and communities.

www.anniefengphotography.com


My work aims to bring contemporary dance and mix-medium performance to audiences that may never have set foot in a theatre. I wanted to showcase how dance can be used as a tool for communication and dialogue, rather than something people simply observe from afar. I think art is about people and isn’t something that should be contained by old notions of performance and presentation. My work strips this away and offers a raw physicality and emotive landscape of people communicating what they really feel. It is also a reason I have taken dance away from just dance in its pure form. I wanted to work with other creators and other mediums to enhance my process and thankfully through luck and chance I was able to connect with some incredible artists who have helped make this happen. Breaking down notions of art forms being apart or away from each other has been a career changer for me and essential in breaking down limitations of how I view dance and where I see dance going creatively. It is about learning from new sources and being open to the fact you don’t have all the answers. Giving into this and entering various scenes of art, creation and rave enabled my process to blossom and is a huge reason why my work has taken many twists and turns.

It all begins to sound very arty as I describe it but essentially I owe a great deal of my creative ethos to the rave scene. As a maker and particularly as a dancer, this unlikely scene of haze, bass and underground antics moved me in such a way it broke down my perceived barriers of what I thought art was and what it could be. These places of sheer music and escapism shook my creative habits to a point of change and enabled me to see what I truly cared about as an artist. My practice has grown from this place of joy and boundless energy, removing personal and professional barriers so that I can reach audiences beyond the rigidity of traditional performance. Taking my work off stage and opening the doors to all manners of performance, audiences and venues has been an incredible journey and one I hope I can continue in the future.

Rave culture informs a great deal of your practice, how do you curate the music that becomes part of Brink’s artistic vision. What tunes are exciting you now, personally and artistically?

I am blessed to work and be friends with the incredible LSMarley.

We began collaborating on one of my first commissions in partnership with Light Night Leeds and Light Waves Manchester in 2018. We met Luke and it just clicked. Luke has a fantastic ear for sound and composition, alongside being able to produce incredibly unique tracks that gel effortlessly with movement. His music has been a huge influence on the aesthetic and overall movement style of our work. Essentially I think our music and movement is curated through genuine pleasure and joy. We make what feels right and makes us feel good.

I wouldn’t say it is an overly thought out process, it is more about sensation and being honest with each other. It is also through observation and taking interest. I listen to Luke’s music within my everyday ongoings. Luke has watched me perform and dance countless times. We have been in the studio playing and jamming together for the last three years. I think through simple experience and listening to each other we have naturally come to an understanding. I think it is all a little unspoken and I think this is what makes it so magical.

Apart from Luke’s sound, my music style for work takes inspiration from various pools of EDM artists and DNB creators. Some of my favourite ‘going out/research’ tracks are by Lenzmen, Calibre, Nicolas Jaar, Caribou, Thundercat, Marcelus, Chimpo Halcyonic and G Roots and Children of Zeus.

You were recently working for Theatr Clwyd providing arts based activities to key worker children. How did you approach delivery given the limitations of Covid 19 and do you have any hints for colleagues as regards delivery of participatory activity?


Ah this was such an incredible part of lockdown! One of my biggest passions is teaching and working with young people. It was such an honour working back in North Wales and helping these children experience art and dance after such a tough lockdown!

Delivery was all focused on protection for both teachers and students, alongside creating a super safe and welcoming atmosphere. We were lucky enough to work in a huge theatre, so that really helped keeping the 2m distance rule. We had colourful 2m squares painted on the floor for the children to work in and have as their own which was really lovely. The main actions we took were developing games and activities that would involve a whole group whilst keeping distance, so there was lots of re-inventing the classic games and making them Covid safe! We wore masks around the building at all times, apart from in sessions and washed our hands religiously! Having hand sanitiser on you was key and we made sure the kids we routined in regular hand washing within all sessions.

It was a crazy experience diving into this work environment and I know for many dance teachers re-entering the scene feels risky and under-researched. I guess the main factor when it came to delivery was prioritising your safety as a teacher and making sure the space was set up in a way so that you could keep distance, whilst being able to lead. Little things I got into the habit of doing was taking spare clothes to change into throughout the day so I wasn’t taking ‘unclean’ clothes into my car/living spaces, disinfecting materials and surfaces I used regularly (my phone/speakers/trainers) and being very clear and open with the students about when they should wash their hands and the importance of keeping distance. It is totally possible to make a teaching space fun, enjoyable and feel relatively normal, you just have to be super on it with hygiene and be creative with your practice!

How has lockdown affected you as an artist? What long term effects do you see Covid-19, having on your artistic practise?

Big question. And I feel one where the negatives could naturally be the main answer here. Obviously the financial impact is huge, especially on freelance artists. Alongside loosing months of passion projects, contacts, performances and creative support, there was also a huge loss of momentum for freelancers self generating their own work and putting endless hours into making their ideas come to life. Through a loss of income and creative development, I still feel a sadness for all the things that were cancelled and taken away once lockdown hit. These impacts have been truly devastating for many artists and I cannot deny the damaging affect this loss of time, money and security has had on many.


However I think it is also incredibly valuable to look at the long term positive effects. Covid-19 was a huge blow for my freelance practice. I lost all my work over night and I had to basically start again. BUT (and this is a big but) when there is a will there is a way and damn I was going to find a way! Due to lockdown I switched up my aims, practice and pretty much my overall artistic outlook and set out to learn a bunch of new things. During this time I have been lucky enough to develop my skills in film and digital media, take lectures in screendance and movement capture. I was able to be part of online R&D’s and several digital creations, alongside delving into my writing practice and developing my online classes. I’ve managed to reconnect with old artistic ambitions and have the space to come up with new ones. I’ve become more efficient and savvy with finding work and directing my passions. I’ve had chance to think long term and not rush from one project to the next. There have been so many things I would have never done and I feel beyond grateful to have had these experiences come my way. I think there has to be a big shout out to all ALL artists and organisations taking Covid-19 on with re-invention and innovation and I feel very proud to be part of an artist community that is pushing new boundaries and re-shaping the path forward.

The Get the Chance team are big fans of the ‘Reasons to be Cheerful’ podcast and something they do on each episode is ask their guest “If they were in government as an advisor for their specialist field, what would be the first change that they would make?” So I’d like to ask you, if you were an advisor/ representative for the Arts sector, what would be the first change that you would make?

Diversity and accessibility. I think a great deal of work is still needed in these areas, to help make art that is a true representation of the communities we live in and offers diversity in voice, experience and narrative. I think more has to be done to create an arts sector that offers fair opportunity and reflects the social changes that are part of our current 2020 lives. I think the arts sector can be seen as a liberal place but it is also stuck in tradition, old schools of thought and certain infrastructures that limit artistic creation from a truly diverse pool of artists. I believe art is for everyone and what we generate, create or shape can make a real impact to those who engage with it. It can be a kick starter for social change, dialogue and awareness and I would love to see the scene develop further in audience outreach, art inclusion and diversity in engagement and opportunity. I think a great deal of this comes from employers and art funders being aware of their positions of power and the change they can implement through re-shaping old ideas concerning art creation and its outlook. I see innovation happening across the sector, from dance and music, to visual and digital media, to how we showcase art and offer accessibility through viewing and participation. However I know a great deal more is to be done and that these conversations need to move from discussion and board meeting chats, to quicker modes of change and action.

To conclude, is there anything that you’re currently working on or anything that you’d like to highlight/ share with our readers?


I wanted to share the Instagram links of the fantastic artists I am lucky enough work with for our NIGHT PEOPLE project. Their talents, artistry and love for their craft has made this event what it is and I am so proud to have collaborated with this team of wonderful humans! Check out their work below at…

Instagram Names:

@mayarosecarroll


@lsmarley

@howl_creative


@boltizzy


@_.iole._

Follow @brinkdancecompany for further info, ticket links and exciting updates about the work, and yes…go buy a ticket! You won’t regret it!



NDCWales & Literature Wales’ Plethu/Weave project sees poignant poetry and movement film created to reflect Wales’ involvement in the Trans-Atlantic Slave Trade


Words by Poet Marvin Thompson / Movement by dancer Ed Myhill

On Sunday 23 August, in respect of International Day for the Remembrance of the Slave Trade and its Abolition, National Dance Company Wales (NDCWales) and Literature Wales announced its next short film release from their poet and dancer project, Plethu/Weave, which focuses on Wales’ involvement in the Trans-Atlantic slave trade.

The International Day for the Remembrance of the Slave Trade and its Abolition, started by UNESCO, is now held annually across the world on Sunday 23 August, which offers an opportunity for collective consideration of the historical consequences of slavery.

Wales based Black Poet Marvin Thompson, and NDCWales dancer, Ed Myhill who is of White British heritage – as part of NDCWales & Literature Wales’ new innovative cross-art form digital collaboration project, Plethu/Weave – will look at Wales’ involvement in the trans-Atlantic slave trade. Triptych which will be released on Thursday 3 September uses Marvin’s words together with a new sound scape and movement by dancer Ed Myhill to convey the injustice, the communities and the people affected in a powerful poetic letter.

Poet Marvin Thompson said, “Ed Myhill and myself have created a film inspired by my poem ‘Triptych.’ This poem is a response to a plaque in Brecon that commemorated a slave trader. Ed Myhill took the first section of ‘Triptych,’ an open message to Brecon Town Council, and remixed it over a soundscape that he composed. The film incorporates images of cornfields, the sea and the movement of our bodies to amplify themes of ecological destruction and enslavement.”

Triptych is the third video of eight from the Plethu/Weave project by NDCWales and Literature Wales. The new digital film project, Plethu/Weave sees dancers from NDCWales and the independent sector, partnered with some of Literature Wales’ commissioned poets to create eight short solo film performances during lockdown.

The first two films, Hirddydd by Mererid Hopwood and Tim Volleman and Ust by Ifor Ap Glyn and Faye premiered as part of the National Eisteddfod’s Online Digital Festival at the beginning of August and are now available to view on NDCWales / Literature Wales’ websites and social media channels.

Lleucu Siencyn, CEO of Literature Wales, said, “Literature and the arts can guide us towards a better understanding of difficult and important issues. Through poetry and dance, Marvin Thompson and Ed Myhill openly and honestly examine Wales’ involvement in the trans-Atlantic slave trade, and Literature Wales is very proud to support this work in partnership with NDCWales. The Day for the Remembrance of the Slave Trade and its Abolition is an occasion where everyone around the world – including the citizens of Wales – should pause to reflect the atrocities of the past.”

Chief Executive Paul Kaynes said, “Dance is an artform which relies on deep collaborations – with choreographers, composers, designers and often with writers. Two Wales-based artists – a poet and a dancer – are collaborating to make a work for and about Wales, reminding us of our past in the trans-Atlantic slave trade and challenging us to reflect on how Black Lives Matter, then and now. The power of the work they have made is a testament to them as artists, and the relevance of their subject”


Triptych will be broadcast on NDCWales/ Literature Wales’ social media channels from Thursday 3 September and will be available to watch for up to 12 months. The next five new short films from Plethu/Weave will be broadcast every fortnightonline as part of KiN:Connected, NDCWales’ digital programme. NDCWales has been showing many of its productions online for the first time for audiences to watch for free as part of its online programme KiN:Connected, including Dream (Christopher Bruce CBE), Rygbi: Annwyl i mi/ Dear To Me (Fearghus Ó Conchúir) as well as a live streamed Zoom version of Ed Myhill’s Clapping.

Full details of KiN:Connected can be found at ndcwales.co.uk and on social media channels over the next week @NDCWales

The Privilege Café and Me. Café Members Discuss their Membership.

In the article below a range of The Privilege Café members share how they first heard about The Café, why they attend, its importance in their lives and to wider society.

Hi Leena, can you give our readers some background information on yourself, please?

Of course, my name is Leena Sarah Farhat and I am the Diversity Officer for the Welsh Liberal Democrats as well as a candidate for the Senedd. I am 22 and have just finished a degree in Computer Science at Aberystwyth University. I am hoping to be a change-maker in Wales and beyond. 

 You have previously spoken at or attended The Privilege Café, The Café is advertised as a place to discuss all things privilege. For those who have not yet attended how would you best describe The Café and its work?

Privilege is a loaded word and is becoming superfluous. I would say that the Café is a space for people to try and unpack privilege through thematic lenses. Each week is a new topic and these topics are vehicles to come to conclusions on privilege. I would urge everyone to join the chat because there will be a topic for you.

How did you first learn about The Café and why do you attend?

I saw it on Twitter! I followed Mymuna Soleman (The Director of The Privilege Café) already and I had watched her and many others get frustrated with ethnic minority discourse in Wales as well as people not understanding privilege. I related to that as a young woman who is a minority ethnic and in fields where people like me are hard to find. You can feel really isolated and like you are screaming into the void. I also recognized my privilege, being lucky to be educated as well as sit on Boards. I wanted to play my part to use my privilege to elevate others and see them succeed and so I went to the first-ever one and was hooked!

Is there a specific Café that stays with you and why?

I think the one that I was lucky enough to speak on. We tackled the topic of Whiteness and Welshness. I was so used to being the only person in a room who would think about this topic so it was surreal having a range of other people who shared my experiences. For a second, I felt a bit less alone in Welsh public life. I learned a lot for the other speakers and have implemented it into the work I do.

It’s evident that the work of The Café is hugely important, how would you like the work of The Café to develop?

I would love to hold the Café both in physical locations and online events. I would love to see Mymuna host discussions far and wide, she is an absolute powerhouse and she has brought us together to make change. We have to do that together and everywhere.

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

Sure, my name is Henry Field, I’m a recruitment manager and have been in the sector just shy of 7 years.

 You have previously spoken at and attended The Privilege Café, The Café is advertised as a place to discuss all things privilege. For those who have not yet attended how would you best describe The Café and its work?

The Privilege Café is the education around issues faced by, and a platform and voice for Black, Asian and Majority Ethnic people that has been needed for a very long time. It’s a place where BAME community members can feel safe in sharing their experiences, where speakers from different sectors can share knowledge and where we can start to break down barriers and build new foundations for relationships moving forward.

How did you first learn about The Café and why do you attend?

I was a speaker at my first Café, I saw they were asking for recruiters in Cardiff to get involved and speak about bias and how to stand out as an applicant. I attended because I thought I was aware of the issues faced by black professionals getting jobs. I was wrong. Although I was aware of unconscious bias, and able to provide a recruitment service that was inclusive – I had no idea about how big the issue is in Cardiff alone, especially for people living in Butetown and Grangetown.

I was one of 3-4 panel members, with differing views on how we can ensure opportunities are being given where possible. It was Wasim Said from TigerBayABC that asked the question that has stuck with me. “Recruiters and companies will come to these things regularly, especially our recruitment events held in community hubs. You come in, you speak to a few people, you get your pictures for LinkedIn and your website – Then we hear nothing else, Few end up with interviews and less end up with jobs – How are you going to be any different?”

That question had an effect on me I don’t think Wasim realises. He was absolutely right of course, I thought I was just going to be a speaker, share my knowledge and be on my way. It was on that call I made the conscious decision to attend all sessions that I could, including those that as a recruiter, I didn’t think were ‘Relevant’ to my role. After a couple of sessions learning more about the lack of education around history involving black communities in Wales and the issues still faced with racism in the police force in the UK,I realised just how little I knew, and how different my life experience and opportunities have been to people living so close to me. I really understood what privilege felt like.

A bit of a long answer, but I attend because of that. I want to learn, and be a positive ally.

Is there a specific Café that stays with you and why?

Other than the one I spoke at, for the reasons above, the café that sticks with me most was the one around policing within the UK. Hearing how black children need to be warned to always leave the shop with a receipt, always turn out their own pockets when being searched, always make sure they smile at police officers as they walk by – This is information I have never needed to be given. As a white man, If I have the choice not to print a receipt at self-service, I don’t because I feel I’m saving paper, I’ve never been stopped – I never considered such a small action could cause trouble for someone with darker skin. I’ve only ever been searched once in an airport, and that was because me and my partner were at the back of the queue and I think they had to just pick someone. Again, this café made me realise what a privileged life I have.

It’s evident that the work of The Café is hugely important, how would you like the work of The Café to develop?

It probably comes as no surprise that my response here will be recruitment related. I would like to see enough HR professionals, and enough business involved to be able to put on a careers fair different to previous. I would like to see a careers fair attended by decision makers and hiring managers that, as long as the skillset is there, interviews can take place on the spot in another room and real action can be taken to improve the opportunities available to BAME communities.

 Thanks for your time

Thank you for the opportunity to share.

Naila Missous

You have previously spoken at or attended The Privilege Café, The Café is advertised as a place to discuss all things privilege. For those who have not yet attended how would you best describe The Café and its work? 

I would describe the space as a hub of learning, relearning and application. The discussions had are not empty discussions; but rather, calls to action. Many things have come out of The Café, including courses that members are offering, Patreon support and for myself personally; making connections with other attendees so that we can work together on anti-racism and global citizenship workshops in education. It is also very Wales based, which is great as someone who lives in England as it has been an extra step in my learning. 

How did you first learn about The Café and why do you attend?

I first learned about The Café on Twitter, when there was a call out for a speaker with a Linguistics background for one of the earlier sessions. I tweeted by interest, and have been attending ever since as both a speaker, and also listener. 

Is there a specific Café that stays with you and why?

I have enjoyed all sessions, as mentioned above, each session is a learning journey. I in particular enjoyed the session entitled, “Guilty before Birth” about those in the prison system; as it was a topic I was not well versed on yet learned so much.

I also enjoyed the “Labels, Language and Linguistics” as this was the first session I ever attended, as well as my first attendance as a speaker. I was unsure as to what to expect as a speaker, given that I am passionate about this subject. The feedback has and still is amazing, and I am forever grateful to the members of the cafe who are supportive, open and always willing to better themselves.

It’s evident that the work of The Café is hugely important, how would you like the work of The Café to develop? 

It would be great to create connections and sub cafes across the UK.

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

My name is Claire Vaughan, I’m originally from Tintagel in Cornwall and spent time living in the USA, but have lived in Wales for many years. I moved to Cardiff nearly 20yrs ago and worked in various jobs (including call centres, accountancy and a youth hostel) before joining Chapter Arts Centre in 2005. In 2012 I joined the Cinema department doing talks and organising events and became the Programme Manager for Cinema in 2018. In 2018 I began the Shift Cardiff Research and Development Art Space in the Capitol Centre with Jon Ruddick and Pria Borg-Marks which gives space for artists time to work and develop their practice with us. I am a White, cis, Queer woman who lives in Grangetown with my partner and my cat and I have three nieces – two who live in Wales, one living in Germany. I don’t come from a rich background – my mum was a cleaner, my Dad was a carpenter and they really struggled financially at times, but I was incredibly lucky to live at a time when education and travel was easier and so in many ways I am incredibly privileged. 

 You have previously spoken at or attended The Privilege Café, The Café is advertised as a place to discuss all things privilege. For those who have not yet attended how would you best describe The Café and its work?

Attending The Privilege Café is like being at a big, welcoming community centre where you come to listen to discussions about the world we live in where the conversation is being directed by Black and Non-Black women of Colour. The topics are timely but also cover all kinds of aspects of life – from Mental and Physical Health, national identity, History and Culture. Everyone is expected to come with an open mind and an open heart so we can learn from each other and try and make our world somewhere everyone can thrive no matter what their background or colour of their skin. As a White person entering this space you might get to consider perspectives that you’re not used to hearing, so it can be challenging but really educational and illuminating. The people who are invited to speak at The Café feel safe enough to be really honest, so you may hear stories that shock you and make you question your own behaviour – have you considered these experiences in this detail before? As White people the level of racism in our society can be difficult to grasp, as we don’t deal with the relentless experience of being judged by society every time we step out of our door. Similarly, hearing from White people is useful – how do we feel about these discussions and how do we find it difficult to help? The people speaking at The Café are offering up their real lived experiences and research to help us come to terms with how our society works so it’s important to respect and feel gratitude that they are giving up their time so we can all work on this together. Even those of us who have experienced really difficult times have some things to be grateful for, some level of privilege. Attending the Café and hearing from all kinds of people makes us more mindful of that. 

How did you first learn about The Café and why do you attend?

Theatre practitioner Catherine Paskell set up a wonderful discussion early in Lockdown to discuss inequality in the Arts in Wales and I met Mymuna through that. She heard people talking about the issues and thought it would be good to have a follow up discussion on White Privilege since it seemed to be not very well understood. Mymuna doesn’t have an Arts background so I probably wouldn’t have come across her work otherwise as the majority of people I meet are through the Arts these days. I found my thinking being challenged really useful. It reminded me of the discussions we had in the Imagination Symposium with Gentle / Radical and the warmth of the BME Woman’s Club. In the past couple of years I’ve met the fantastic Keith Murrell (Cardiff Bay Carnival); Yvonne Connicke (Cinema Golau), Kyle Legall through Cardiff Animation Festival; Yasmin Begum (whose encyclopedic knowledge always blows me away) – I’m kind of taken aback that I’ve only become aware of the work of some of these wonderful people in the past few years, it demonstrates how segregated the Arts is here in Wales.

It isn’t enough to say that groups of people are ‘hard to reach’, there is a whole load of exciting work going on getting almost no exposure or funding. We need to work on addressing that. But I don’t attend because of work, I think everyone, no matter what your background or interest has something to learn. It’s up to all of us to make this world better, it’s something I really believe in. 

Is there a specific Café that stays with you and why?

I think the story is that effected me most deeply was in one of the first sessions. One of the speakers, a Black Science academic was talking about her first day at University and how she was sat in the lecture hall and no-one came and sat with her, no one tried to befriend her. It stopped me in my tracks because I remember those days so well and how nervous you feel in that situation and I don’t know if at 18 I’d have behaved any differently. I think you seek out people who look like you when you’re new to something and nervous, which was easy enough for me at that age because there were plenty of White women in my lecture room. That simple moment of sharing something painful helped her talk to others about similar experiences and I got a chance to reflect on this and be more mindful of how I am in social situations. It stung, it made me ashamed because it made me consider my unconscious bias but also spurred me on to make sure that I attended as many of the sessions as possible because everyone had a story that made me think differently. 

It’s evident that the work of The Café is hugely important, how would you like the work of The Café to develop? 

The knowledge passed on by Abu-Bakr Madden Al-Shabazz every week when he talks about the history of Black and Non-Black People of Colour around the world is essential, I’m really glad that he’s started a Patreon (https://www.patreon.com/user?u=39306141) so we can have a history lesson that covers something other than the World Wars, which is all I remember being taught. 

Abu-Bakr Madden Al-Shabazz, Image credit Mahammadien Eshak

I am also glad that Mymuna has started a Patreon (https://www.patreon.com/PrivilegeCafe) because I would like to see her and her speakers invested in by the community. We need to tackle the crisis in funding for public good in the UK (including the Arts and Education) but progress can be slow and people need money to help plan and create now, not in 5 years, so alternative funding is important to donate to. I would like to see publicly funded organisations and councils around Wales to support these initiatives, so it’s not just spread by word-of-mouth in the capital because these aren’t just issues in Cardiff. As a country we are becoming more confident and we need to press on with progressive ideas to help create a better, more inclusive country. More forums where people can talk about their experiences and ideas in every part of the country from all kinds of backgrounds, from rural areas, towns and cities, is needed so we can build up a better future. Wales has welcomed me and I wasn’t born here, it is upsetting to see Black and Non Black Welsh People of Colour not given similar opportunities. Mymuna has made a huge investment in all of us, an investment in hope, by starting The Privilege Cafe. I want Wales to live up to her belief in us. 

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

My name is Dafydd Trystan. I work in Higher Education in Wales for the Coleg Cymraeg Cenedlaethol. I live in Grangetown and I’m active in my local community. I chair governors at Ysgol Hamadryad the local Welsh medium school for Grangetown and Butetown, the most multi-lingual multi-ethnic Welsh school ever!

You have previously spoken at or attended The Privilege Café, The Café is advertised as a place to discuss all things privilege. For those who have not yet attended how would you best describe The Café and its work?

A real opportunity to listen and learn about some of the issues facing society today – in a supportive space.

How did you first learn about The Café and why do you attend?

I think I saw it first on Mymuna’s Twitter feed. I’ve seen some of Mymuna’s work before and its very impressive so I thought I’d go along. There were some topics that were / are of particular interest e.g. Do You Have to be White to be Welsh?

Is there a specific Café that stays with you and why?

Probably the one I mentioned on Welshness and Whiteness. It made me 100% convinced that we needed to do far more to ensure that Welsh speaking spaces are genuinely welcoming and open to all – and we’re not there yet. Following on from The Café, a group of us who spoke got together at Tafwyl and have subsequently presented to a Welsh Government strategy group.

It’s evident that the work of The Café is hugely important, how would you like the work of The Café to develop? 

Carry on as it is – but probably needs some more organisational structure to ensure that the excellent conversations can build into action

Thanks for your time

Rhiannon Barrar

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

I have attended The Privilege Café many times. I have never spoken but sometimes have contributed to the chat.

You have previously spoken at or attended The Privilege Café, The Café is advertised as a place to discuss all things privilege. For those who have not yet attended how would you best describe The Café and its work?

I would describe The Privilege Café as a place where  minoritized groups can safely talk about what it is like living in a world of white privilege and what changes in society must take place to eradicate racism.  It has been a place to learn about Black history (and not just slavery).  It is a place where white people can listen and learn and investigate their own sub conscious racism and how our system accepts being white as the norm and how they can use their white privilege to support minoritized groups achieve the eradication of racism.

How did you first learn about The Café and why do you attend?

I first learned about The Privilege Café on Twitter when I saw the very provocative title ‘ Does Welshness mean Whiteness.  Ydych chi’n gallu siarad Cymraeg’.  In the context of the murder of George Floyd, I found this title provocative and it made me question my own attitudes.  It never occurred to me that being Welsh and Welsh speaking could be equated with whiteness.  I had just never thought about the experience of being Welsh and Black for example.  This session was very hard hitting and very challenging to me personally.   It was like a road to Damascus.

Is there a specific Café that stays with you and why?

I am eternally grateful to Mymuna for setting up this forum.  It is a revelation and an education.  Everyone should attend.  It challenges you to find a way to do something about racism.  Although each session is very well attended and a wide range of ethnicities, I think the challenge is to reach out to socially deprived areas of the country.  Many of the speakers  are successful professionals.  What about reaching out to the unemployed and homeless for example?

It’s evident that the work of The Café is hugely important, how would you like the work of The Café to develop? 

It would be good to explore the origins of racism from a scientific point of view. Where has this idea of race come from?  I am reading ‘Superior – The Return of Race Science’ by Angela Saini which explores this question.

Cyhoeddiad The Other Room, Theatr Dafarn Caerdydd, i wahodd Ceisiadau Agored Sgript Haf 2020

Heddiw, mae’r theatr dafarn Caerdydd The Other Room, enillydd Gwobr Theatr Fringe Y Flwyddyn gan The Stage, sydd wedi’i leoli ym mar  Porter’s, yn cyhoeddi ei phrosiect Haf 2020, sef New Page. Dengys y rhaglen hon, am y tro cyntaf, gyfle i gynnal Galwad Sgript Agored ar gyfer ysgrifenwyr. Byddant yn derbyn hyd at 100 o sgriptiau llawn, gyda phob un yn derbyn adborth cynhwysfawr gan dîm o ddarllenwyr sgript proffesiynol.

Bydd modd cyflwyno ceisiadau rhwng y 5ed o Awst tan Hydref y 4ydd, ac anelir yn benodol at ysgrifenwyr sydd naill ai yn Gymraeg, wedi’i hyfforddi yng Nghymru neu wedi’i lleoli yng Nghymru. Gobaith y theatr yw i greu partneriaethau creadigol newydd yn ogystal â datblygu’n bellach sgiliau dramodwyr Cymru. Bydd y theatr yn annog ceisiadau gan ysgrifenwyr sydd erioed wedi ysgrifennu i’r llwyfan; gan dderbyn barddoniaeth, straeon byr a dyfyniadau deialog yn ogystal â sgriptiau llawn.

Bydd Yasmin Begum, sydd newydd ei phenodi yn Swyddog Cysylltu Cymunedol, yn ymdrechu i olrhain 30% o’r holl geisiadau drwy waith cyfranogol wedi’i dargedu gyda’r cymunedau hynny o Gaerdydd sydd ar gyrion cymdeithas a gyda phobl efo nodweddion gwarchodedig. Ar ôl y cyfnod derbyn ceisiadau, anfonir rhestr fer at dîm gweithredol y theatr ar gyfer ystyriaeth ymhellach. Caiff ysgrifenwyr y rhestr fer gyfle i dderbyn sesiynau adborth gan Dîm Weithredol TOR, gyda’r gobaith o feithrin perthynas hir-dymor ystyrlon gyda’r theatr.

Dywed Dan Jones, Cyfarwyddwr Artistig The Other Room:

“Prin iawn y bydd sefydliad fel The Other Room yn segur, ond fel y gwyddom i gyd, rydym yn boenus o dawel ar hyn o bryd. Mae hi wedi bod yn gyfnod o fyfyrio dwfn, pryder ac adfyd. Ond yn y drychineb du yma, daw cyfle. Cyfle i droi tudalen. Gan ystyried popeth sy’n digwydd yn ein byd, dyma’r cyfnod i aros, i wrando ac i gysylltu.

Gyda chefnogaeth anhygoel gan Gyngor Celfyddydau Cymru a’r Sefydliad Esmee Fairbairn rydym yn falch i gyflwyno “New Page”, ein platfform ceisiadau agored. Dyma gyfle gwych i artistiaid Cymraeg neu sydd wedi’i lleoli yng Nghymru i gyflwyno eu hunain a’u straeon. Rydym yn ymwybodol nad ydym wedi gwneud digon i gyrraedd ac atgyfnerthu lleisiau sydd heb eu clywed yma yng Nghymru. Dyma ein cam cyntaf bwysig tuag at newid ystyrlon ac ni allwn aros i glywed ganddoch.”

Dywed Yasmin Begum, Swyddog Cysylltu Cymunedol:

“Mae New Page yn fenter sy’n torri tir newydd yng Nghaerdydd i gefnogi ysgrifenwyr ac i greu gwaith newydd. Rydyn wrth ein bodd i gael gweithio gyda gwahanol gymunedau ac aelodau’r gymuned i alluogi ysgrifenwyr i ddylanwadu ar sector y celfyddydau mewn ffordd bositif ac i hybu cydraddoldeb, cynhwysiant ac amrywiaeth.

 Byddwn yn gweithio mewn modd arloesol a chroestoriadol i ddarganfod gwaith ysgrifenedig o Gymru a thu hwnt yn y Gymraeg a’r Saesneg. Rydyn yn hynod o gyffrous i weithio gydag ystod eang o ddarllenwyr gan obeithio ddechrau perthynas o gysylltiadau broffesiynol newydd gydag ysgrifenwyr tra yn rhoi cefnogaeth ac arweiniad.”

Cefnogir New page gyda chymorth Cyngor Celfyddydau Cymru, Sefydliad Esmee Fairbairn a chefnogwyr SupportTOR.

Ar gyfer mwy o wybodaeth ynglyn â New Page gan The Other Room, ewch i

https://www.otherroomtheatre.com/en/whats-on/new-page-submissions neu dilynwch y tîm ar Twitter @TORtheatre, Instagram @otherroomtheatre a Facebook www.facebook.com/otherroomtheatre

Cardiff’s pub theatre The Other Room announces Summer 2020 Open Script Submission

Today, Cardiff’s pub theatre The Other Room, located in Porter’s and winner of The Stage’s Fringe Theatre of the Year Award, announces its Summer 2020 project, entitled New Page. The programme will see, for the first time in the theatres existence, an Open Script Submission for writers. They will accept up to 100 full-length pieces of writing, with each receiving comprehensive feedback from a team of professional script readers.

Submissions will be open from 5th August through to 4th October, and is aimed specifically at Welsh, Wales-trained or Wales-based writers. The theatre hopes to forge new creative partnerships and further develop the skills of Wales’ writers. The theatre will be encouraging submissions from writers who have never written for stage before; accepting poems, short stories and dialogue extracts as well as full-length scripts.

Newly appointed Community Engagement Officer, Yasmin Begum, will endeavour to source a minimum of 30% of the total submissions through targeted outreach work with marginalised communities of Cardiff and people with protected characteristics. After the submission period, a shortlist will be sent to the theatre’s executive team for further consideration. Shortlisted writers will receive feedback sessions with TOR’s Executive Team, marking the beginning of what we hope will be a long-lasting, meaningful relationship with the theatre.

The Other Room’s Artistic Director, Dan Jones, comments:

“It is rare for an organisation such as The Other Room to sit still, but as we all know, right now, we are painfully still. It has been a period of serious reflection, anxiety, and adversity. But buried deep in this catastrophe there is opportunity. An opportunity to turn the page. With all that is going on in the world, now is the time to stop, to listen and to connect.

With the incredible support of Arts Council Wales and the Esmee Fairbairn Foundation we are pleased to present “New Page”, our open submission platform. This is a fantastic opportunity for Welsh and Wales-based artists to introduce themselves and their stories. We know we have not been doing enough to reach and empower unheard voices here in Wales. This is our first important step towards meaningful change, and we cannot wait to hear from you.”

Community Engagement Officer, Yasmin Begum, comments:

“New Page is a groundbreaking initiative based in Cardiff to support writers and the creation of new work. We are thrilled to work with different communities and community members to engage writers to positively impact the arts sector and promote equality, inclusion and diversity.

We will be taking an innovative and intersectional approach to source written work from across Wales and beyond in the medium of English and Welsh. We’re really excited to be working with such a broad range of readers and hopefully start the beginning of new working relationships with writers as we offer support and guidance.”

New Page is made possible with the support of Arts Council Wales, Esmee Fairbairn Foundation, and our SupporTOR donors.

Further information for The Other Room’s New Page can be found visiting https://www.otherroomtheatre.com/en/whats-on/new-page-submissions or follow the team on Twitter @TORtheatre, Instagram @otherroomtheatre and Facebook www.facebook.com/otherroomtheatre

‘Black Lives Matter Essentials: A Book Club on Race’ An Interview with Artist, Andrew Ogun

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

My name is Andrew Ogun and I’m 22 years old. I moved to Wales from Italy when I was 5 years old. My mother is Nigerian and my father is Togolese. I’ve just finished my bachelor’s degree in English Literature from the University of Birmingham and I’m doing my masters in Fashion Entrepreneurship and Innovation at the University of Arts London in October. I’ve spent most of my life in Wales aside from university and I also lived in Berlin for a year because I did a year abroad. I’m an artist first and foremost; I’m a writer, musician and fashion designer. 

You have set up up a new group called ‘Black Lives Matter Essentials: A Book Club on Race’ Why did you set up this new group?

One of the major talking points of the BLM movement has been the necessity of proper, nuanced education in relation to race, identity and intersectionality here in Britain. BLM Gwent believe that a book club is the ideal environment to begin the often difficult but necessary conversations that we must have about race in order to improve the situation for BAME citizens in the UK. A lot of the books that we have chosen for this initiative will be incredibly illuminating texts that we hope will begin to open people’s minds. 

Your first book is the now seminal ‘Why I’m No Longer Talking to White People About Race’ by Reni Eddo-Lodge. Why did you choose this as your first book?

Reni Eddo-Lodge’s text is a perfect first text because it manages to break the taboo of not talking to white people about race. Many white people are uncomfortable talking about race but Eddo-Lodge’s approach is one that is fairly digestible and accessible to all. Furthermore, the book has rose through the ranks and reached number 1 on the nonfiction charts, making her the first Black British woman to top the charts; this is bittersweet to me because although it’s well deserved, more black voices in literature should have been amplified. The text also covers many of the pertinent themes that have arose during the BLM movement; history, the system and white privilege, amongst other things.

During Lockdown the murder of George Floyd and worldwide public demonstrations under the Black Live Matter movement have highlighted institutional racism, inequalities and discussion around Privilege. Do you feel The Book Club will discuss the link between  literature and the potential for change in society?

I think a lot of great literature is always a reflection or commentary on wider society. The arts have always been integral to changing our society for the better. I hope the book club will show people that literature can always be used as a positive driving force for change.

Who are your favourite authors and why?   

There are not many authors that I have read multiple of their novels but there’s a few authors I love; Katherine Mansfield, James Baldwin, Oscar Wilde, Bret Easton Ellis, Chimamanda Ngozi Adichie and Frantz Fanon. Some of my favourite poets are Audre Lorde, Langston Hughes, Sylvia Plath, Allen Ginsberg, Elizabeth Bishop, Frank O’Hara and Maya Angelou.

Get the Chance supports the public to access and respond to arts activity, if you were able to fund an area of the arts in Wales what would this be and why?

To be honest I think we all know that the entire arts sector is grossly underfunded. The lasting financial impact of COVID on the arts will be devastating, at least in the short term. My choice would be the music industry being a musician myself. It’s expensive to be an up-and-coming musician. Equipment, studio time, music videos, sound engineering, beats, distribution. All these things cost a lot of money and there are so many great musicians in Wales that just need the freedom and finances to truly realise their artistry.

 During Lockdown a range of arts and third sector organisations and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working that you would like to highlight?

I’ve said it in a few protests that I have attended and spoken out; COVID has ensured that our old ‘reality’ is pretty much obsolete. It is now up to us to create our new reality. The move towards a more virtual society has its downsides but is still very beneficial in some aspects. I think it’s a good move for artists to be more online based. It gives you a broader audience and allows you to not be rooted to a particular physical location. I can’t think of any particular examples but this is just my general view.

Thanks for your time

Mymuna Soleman and The Privilege Café

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

Hi Guy thank you for this opportunity, my name is Mymuna, I’m of Somali origin and was born and bred in Cardiff, Wales. I have a huge passion for equality and diversity but most importantly equal representation for Muslim women of colour like myself. I studied Health and Social Care at undergraduate level and my Master’s in Public Health; both obtained from Cardiff Metropolitan University.

I set up The Privilege Café as soon as we got into Lockdown as I was frustrated with the lack of diversity and couldn’t express myself as a woman of colour in spaces filled with privilege.

To date, I’ve facilitated 10 sessions on Zoom covering various themes including mental health, ‘unconscious’ bias and privilege in the recruitment process. The level of engagement has been incredible and the speaker’s insight knowledge and expertise have brought nothing but positivity to all those who have attended the sessions. I’m truly greatful to everyone who has been part of this learning and growing journey with me; Diolch o galon.

The Café is an open to all, its a safe space for all to engage, learn and to use their privilege for good.

 As you have mentioned you run The Privilege Café, the Café is advertised as a place to discuss all things privilege. For those who have not yet attended how would you best describe the Café and its work?

I would describe the virtual Café as a safe, open forum whereas you say we discuss privilege among other topics which to date since starting on April 20th this year have included mental health and privilege, language and linguistics, ‘unconscious’ bias and various others. I created the Café as I was frustrated with this whole ‘systems’ approach which is very formal, agenda-based and wanted the Café to be the opposite of that. Once I decide on a theme and a title for discussion, I put out a call out on social media for anyone interested to speak for a 10-15 mins or so and then open it out for open questions and discussions. Like I said it’s a very informal space so anyone is welcome to come, learn and discuss ‘difficult’ topics but most importantly how people can use their privilege for good.

To discuss specifics White Privilege is an overarching topic in every Café. Why is this such an important area of discussion in the Café?

I think the words white privilege hold a very strong and weighty meaning for so many people not just people who are non-white. White privilege is a difficult concept to take on board and is not something you can pinpoint onto one individual. The unearned privilege or superiority white skin gives people is wider and deeper than something a lot of people deem to be ‘individual finger pointing’, you know the whole ‘I’m not racist’ sentence which usually takes up the space where more meaningful conversations could be had. This is why I have the mindset that white privilege will not be tackled in one session or ten sessions, but that it is the foundation and base of all conversations had at the Café. Positive mindset change takes time and it would be disingenuous and frankly hypocritical if I expected people to come one session and then I ‘ticked off’ the white privilege element. White privilege is a deep thread embedded in society and the same goes for the café. That thread will be untied, hopefully, through various discussions, themes, conversations and questions as the café evolves.

The Café is a space where contributors can share real points or lived experiences that many people find difficult. The Cafe is a safe space for these conversations. As the meeting host you frequently state it’s OK to ask questions. How did you decide how to format the Café and the conversations that take place there?

Its always OK to ask a question in my view, the Privilege Café being on Zoom doesn’t make that approach any different for me. As I said above, I didn’t want to have a ‘format’ so to speak, it’s much more of a safe, open forum which naturally involves asking questions to learn and engage more. I feel that the more I reinforce that it is OK to ask a question, the less intimidated people feel and if that’s what it takes for me to help educate people then that’s what I’ll do. Learning is always a two process and open questions, for me, give that relaxed, open atmosphere which is part of the DNA of my Café.

Has this changed as the number of Café’s have increased and the number of your guests?

No this approach hasn’t changed nor has it impacted the number of guests. I guess the more guests there are as in speakers the less time to answer questions but again I try to answer as many questions as I can though the chat as well as the open forum discussions with the help of my incredible speakers. The number of panel members really does depend on the interest after I put the call out and so again this reinforces my approach for my Café to be very informal, space and open to all.

During Lockdown the murder of George Floyd and worldwide public demonstrations under the Black Live Matter movement have highlighted institutional racism, inequalities and discussion around Privilege. Do you feel The Café has a role to play in tackling some of the areas above?

Yes, I feel the Privilege Cafe does have a role to play in terms of raising awareness of the issues you raised in the question and it is the exact reason why I created the Café in the first place. I felt that these topics were always seen as ‘add-ons’ in every space I went to and they were always on the ‘menu’ until I as the only person of colour the  majority of the time brought them up during discussions and so with The Privilege Café I hope these issues are on the table and open for debate, discussion and hopefully positive change.  

I first became aware of your work in The Privilege Café on social media. I found the Café and format to be a revelation in terms of the conversations in which you could actively participate. You bring together a broad range of people, providing new perspectives and the opportunity to learn.  There has been a great deal of discussion during the Lockdown of a rejection of the “Old Normal” and embracing the “New Normal” For me personally discovering and attending the Cafes has been one of the most positive outcomes of Lockdown. Your attendance’s can be as high as 300 people, which is staggering. It’s evident your work is hugely important, what would you like to happen next?

Thank you for your comments and an excellent question. Ideally, I would like to take the virtual Privilege Café I have created online and take it offline, in the ‘real world’. I’d love to have a ‘Centre for Women’ where the Privilege Café takes up the main holding space. I’d love the Café to have separate rooms just like it does online where each room has a different speakers or panel members tackling a different theme each week. These rooms would cover topics similar to the ones I’ve covered on zoom which include mental health and wellbeing, education and employment.

Get the Chance supports the public to access and respond to arts activity, if you were able to fund an area of the arts in Wales what would this be and why?

I would fund Somali folk dance classes as this is a huge passion of mine as a Somali-Welsh female living in Cardiff; a city with a huge Somali population, one of the oldest minority ethnic group in the UK. Somali folk dance is exciting, fun and most of all its an amazing way to keep fit and healthy; yet this is not included in the ‘arts’ in Wales and this needs to change.

During Lockdown a range of arts and third sector organisations and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working that you would like to highlight?

I don’t think there’s a particular way to engage or work with people, it’s about your network and how you use them wisely, transparently and honestly without trying to better yourself or achieve personal goals. I think what some organisations have found difficult is that they haven’t engaged as they should have prior to Lockdown and so now adapting to the new way of working has meant that those challenges will be that much harder. Advice I would give to these organisations is to be as honest as possible and openly admit that this is not tokenistic and that they haven’t done as well as they should have but this is the long term sustainable goal we want to achieve, oh and we will pay you for your time as we value your input.

Thanks for your time

The Gift of a Garden in Lockdown with Yaina Samuels

In this exclusive interview, Yaina Samuels (Founder & Director of NuHi Training Ltd a social enterprise which offers bespoke education and training workshops for people with substance misuse problems) speaks to the Director of Get the Chance about her background, the challenges presented in Lockdown. Her love of gardening and lack of black presenters in the media. Yaina also discuss where she thinks arts funding should be focused.

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

A few years ago, a friend once described me as a disruptive influencer. I thought at the time it was a bad thing. Reminded me of school, my end of term reports (for lessons that I didn’t like/couldn’t get my head around) always read “Yaina is a disruptive influence in the classroom”. That was then and this is now! For me being described as a disruptive influencer is very much a good thing. I’ve decided to also add the word innovator as it aligns well with the person that I am today. I consider myself to be a ‘disruptive innovative influencer’ seen through my life experiences, the work that I do and the things that I am passionate about

During Lockdown you have been sharing updates on work in your garden. Have you always been interested in gardening?

If it wasn’t for gardening, my emotional health and wellbeing would have taken a steep nosedive during lockdown. I am the type of person that likes to be actively involved in doing something. Living alone, being in lockdown, working from home on my laptop, was driving me nuts. I had to sort my head out and fast.


My passion stemmed from my early childhood experiences of visiting extended family who were keen gardeners. As a young child I loved visiting my grandmother’s house in West Close, in the Docks. She had a long path to the front door and there were always pretty coloured flowers and plants filling the borders, they smelt wonderful to my little nostrils.

Another experience: visiting my cousins in Ely meant that I would get to see what uncle Les was growing on his garden veg plot. He spent hours in the back garden, tending his plants, tying up canes for his runner beans, and weeding the ground. When we had a Sunday roast dinner at my uncle’s house, the vegetables were always freshly pick from his garden that same morning.

From the age of nine we moved to a housing estate in Newport we were fortunate enough to be housed directly opposite miles and miles of green fields. For years I would watch the farmer from my bedroom window ploughing, planting and harvesting his crops. In my teens, to earn pocket money, I worked at a local farm at the weekend picking blackcurrants.

You use lots of recycled materials in your garden projects, where do you get them from and which are you most pleased with?

I get my recycled materials such as wood and pallets from skips by the side of the road. I can’t drive past a pallet without stopping and putting it in the car. I’m obsessed with pallets; I go to bed at night watching YouTube tutorials of creative things to make with pallets. Ideas come to me when I’m sleeping, next morning I can’t wait to get out of bed to get started.

I got into the habit of carrying my jigsaw tool with me as I quickly came to realise that pallets come in different shapes and sizes and some need cutting to fit into my small car. Friends who follow me on social media have also messaged me to offer me pallets.

You have also been growing your vegetables, which you have had to defend from garden predators! Have you managed to save any veg and made any nice meals?

Growing veggies brings forth both pain and joy. For the first few weeks I had a nice harvest of rocket lettuce, chives, mint, rosemary, parsley, garlic, and strawberries. So far, I’ve made several dishes of tabbouleh salad – main ingredients parsley and mint. I shared much of my rocket and mint with my lovely neighbours. My cucumbers, cabbage and courgettes are growing slowly but surely, as I put them in a raised bed. However, my lettuce has been totally annihilated by the invisible slugs that come and go in the night, the only evidence being their slimy silvery trail.

There are very few black gardeners in the media, what can be done to increase representation and support people into considering this as a career path or as a pastime?

My biggest passion has always been plants, gardening and nature. Up until last year I had never seen a black woman garden presenter on TV, I was a follower of Charlie Dimmock, that’s all we had. Imagine my joy when I first saw Flo Headlam on Gardeners World in 2017, about time too! Then I remember Juliet Sargeant a black garden designer winning gold at the Chelsea Flower show in 2016 for her creative expression of modern-day slavery.

The black gardeners that I have mentioned above are from over the bridge in England. I would love to see Wales cultivate and nurture our very own homegrown black gardeners – Wales is missing out on so much by not embracing this unique and diverse talent.

Get the Chance supports the public to access and respond to arts activity, if you were able to fund an area of the arts what would this be and why?

If I were able to fund an area of arts I would most definitely choose presenting or hosting. We need more black people presenting topical issues that relate to all. The media is a very powerful tool which is, all too often, used to spread hate and promote divisiveness in relation to black people. As a black woman born in Cardiff, with strong Sierra Leone roots, I feel hopeful that change is finally coming on a global scale. Such a shame that it took the death of George Floyd to get us to where we are now.

During Lockdown a range of arts and third sector organisations and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working that you would like to highlight?

For me Zoom conferencing has all the components needed for running a successful activity online, engaging with people who may not normally attend such events. Also allowing people to join and just listen without having to walk into a room full of people, which to many community members, is a pretty daunting experience.

The added bonus of Zoom is the break out room facility where a large group can be broken into smaller groups for discussion. I feel that online engagement is the future. Being able to access a service or event without leaving the home will enable far more people to participate and get their voices heard in relation to issues that affect them and their communities.

Thanks for your time Yaina

The Far Away Plays, Championing Welsh Voices, An interview with The Creative Team.

In this exclusive interview, the Directors of The Far Away Plays Scott Arthur and Francesca Goodridge speak to Director of Get the Chance, Guy O’Donnell about their Welsh background, the work of The Far Away Plays and where they think funding for the Arts in Wales should be prioritised.

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

Scott – Siwmae! Thanks for having us. So, I’m an actor and co-founder of The Far Away Plays. I originally hail from the Wild West of Wales, known to most as Llanelli, and graduated from the Royal Welsh College of Music and Drama in 2010. Since graduating I’ve been fortunate to be part of some wonderful projects in theatre, tv, film, and radio, most recently the TV series ‘Good Omens’ for BBC/Amazon which starred Michael Sheen and David Tennant, and alongside Shia LaBeouf in the film ‘Borg/McEnroe’.

Fran: I’m from Swansea, I originally trained as an actor and singer at LIPA and since then have worked as a director alongside performing. The first show I directed was an all female 60’s musical, which went to Edinburgh Fringe for two years, and then transferred to The Royal Court Theatre in Liverpool. I was the Trainee Director of The Other Room Theatre in Cardiff, and I am now on of the first recipients of The Carne Trust’s 18-month Traineeship for Directors in Wales as the Trainee Director at Theatr Clwyd. 


So what got you interested in acting and the arts?

Scott – School plays, local theatre, and any Robin Williams film. I used to go to the theatre quite a lot as a child, mainly to watch my uncle Greg who was a member of Llanelli Youth Theatre at the time, and then I finally plucked up the courage to join myself at the age of 13.

Fran: When I was a little girl my uncle would introduce me into the room whilst playing the spoons, I would hide behind the sofa, wait for my introduction and lap up the applause from my family, then run back behind the sofa and do it all over again (I can now imagine how annoying this was for everyone involved…) My uncle was the person who ignited my love for stories and really encouraged me to have a totally bonkers imagination. 

Your new company The Far Away Plays is a new online play reading company, which champions  Welsh voices. How did the new company develop and how does it work?

Scott: So, myself and Francesca initially had the idea to produce an online reading of Under Milk Wood, but then quickly discovered that the idea of creating a company which re-visited lot’s of brilliant contemporary Welsh plays, whilst at the same time championing Welsh voices to read them, seemed so much more worthwhile to put our energy in to. The Far Away Plays is an online play reading company that brings together a new company of actors and creatives every week to read some of Wales’ most loved plays, giving those involved a chance to be creative and stay connected during a time when our theatres and rehearsal rooms are off limits. We also host free, weekly workshops and Q&A’s with industry professionals too.

Did the concept of the company exist in its current form prior to Lockdown or did you have to alter your plans? Was Lockdown an advantage for your company rather than a traditional playreading process?

Scott – The Far Away Plays wouldn’t exist without Lockdown. Without everyone being stuck inside their living rooms I doubt we’d have been able to bring such fantastic reading companies together – we’re incredibly lucky to have worked with some of the best talent Wales has to offer.

Fran: I wouldn’t say Lockdown was an advantage, but it did mean that actors were really needing a way to exercise their creativity, and that went hand in hand with our mission of wanting TFAP to connect and champion Welsh artists. We try and make it as much of a traditional play reading process as we can, with no pressure and just the joy that this is a one time opportunity to all be together, in that moment, with that story. You have had readings of existing plays by established playwrights as well as readings of work in development.

How do you decide on the plays to read and the creatives involved?

Scott: We just chatted a lot and created a list of the plays that we really wanted to hear again or in some cases for the first time. Actors and creatives have suggested plays too which always helps.

 In terms of the work in development, I called Katie Elin Salt to see if she had anything that she’d written that we could have a read of, and luckily for us she had her insanely brilliant play ‘Splinter’ that hadn’t been touched for a few years, so we jumped at the chance to workshop it and give it another life. And in Matthew Trevannions case, we approached him as we wanted to read his play ‘Bruised’, but luckily for us he really wanted us to host a reading of his brand new play ‘Lyrics to a Birdsong’ instead. It was our 2nd new play reading in just under a month – we couldn’t have felt more lucky that the likes of Matthew and Katie trusted us to help them develop their works.

The Lyrics to a Birdsong reading by Matthew Trevannion.

Fran: There are playwrights that both of us love and admire, so there’s the obvious plays- but we try to have a new playwright every week and so far haven’t done more than one reading of the same playwright yet! Myself and Scott discuss the plays, but a lot of it comes from emails from creatives wanting to get involved, and the plays they suggest! We have a huge database of actors/creatives and the plays they suggest- once we start to see the same play crop up, we know we have to do that one. We try to get a director on board for each reading as soon as we decide on the play, and we ask them to go through the database of actors to see who is best to read what roles. We try to include both graduates and experienced actors together.  We also encourage playwrights to get in touch if they have new work they want to hear out loud, or work on over a few weeks with actors. It’s so important to keep making new work, even when right now it feels like we’re far away from putting it on, we have to keep making! 

The reading of ‘Pan Ddaw’r Byd i Ben’ by Daf James


Scott you put a call out on Twitter in the early stages of the project for suggestions for Welsh Plays. What sort of response did you get?

 I had over 90 different play suggestions. They’re all in our database now, and hopefully we can revisit them all at some point. 

The play readings have been hugely successful, with real interest from the theatrical community. The readings can’t be accessed by the public and are invite only. Is it possible to say why this is and do you have any plans for an online audience to be able to attend?

Fran: We’ve been asked this a lot, and we would love to allow everyone who wanted access to watch each reading. However, we’re both working for free on this project, and so the actors and creatives are very generously giving their time for free too. We don’t feel like it’s right to ask the actors to “perform” for anyone other than for themselves without payment at the moment. The purpose is to allow them a place to flex their creative muscles, without any pressure of a performance. Like an athlete attending the gym! Obviously we would love to then have a separate strand that paid actors and creatives for their time, and allowed the reading to be open to the public- we’re actively trying to seek funding for this, so fingers crossed, because it would be great to open some of these amazing play readings up and more importantly pay people for their incredible talents! 


What response have you had from the sector and what are your future plans for the company?

Scott – One thing we can’t have any complaints about is the love and generosity that’s been shown to us from the off. Artists like Adele Thomas, Tim Price, Tamara Harvey, Trystan Gravelle, Catherine Paskell, Daf James, Rebecca Jade Hammond, Julia Thomas, Gary Owen, and Matthew Bulgo to name a few, have all given us their invaluable advice.

The immediate future plan is to keep on doing more readings and workshops. Long term, who knows. Personally, I’d like the company to evolve and for us to one day produce a production. There’s a huge lack of revivals in Wales, so we think we could happily fill that gap in a similar vein. Another idea of ours is for ‘The Far Away Plays Festival’. A long weekend in Cardiff with a whole load of play readings, workshops/Q&As, and a good old knees up with everyone.

Fran: The response we’ve had has been like nothing either of us could have imagined. It’s a huge testament to how much creatives are itching to flex their muscles and surround themselves with other creative minds. The readings are wonderful, but for me, seeing a “room” full of artists discussing the play afterwards always gives me goosebumps- those creative conversations are the thing I miss most (and the banter! You cant beat a room full of Welsh people… ) We plan to continue these readings for as long as people need them. 

If you had to be put on the spot what are your favourite Welsh plays from the last decade?

Scott – Violence and Son/Iphigenia in Splott both by Gary Owen, Grav by Owen Thomas, Bird by Katherine Chandler, Pan Ddaw’r Byd i Ben by Daf James.

Fran: All of the above, I properly loved the most recent reading we did of Daf James’ play Pan Draw’r Byd i Ben, and also Emily White’s Pavilion will always be a really special one for me. But a play I’ve always loved is Salt, Root & Roe by Tim Price. I’m also really excited by new Welsh playwrights right now, I’m working with Rhys Warrington on a new play of his, plus we’ve been lucky enough to read new plays by Matthew Trevannion, Kristian Phillips, Katie-Elin Salt… we have so much talent in Wales, and so many incredible stories to tell.  

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

Scott: Wales has so many amazing theatres all across the country that hardly get used to showcase Welsh work with Welsh actors and creatives at the heart of it, so I’d love more money to be pumped into making sure that plays are toured more. I’m also unashamedly a huge fan of big scale productions – so more of those please! 

Fran: The programme I’ve been lucky enough to be involved in is supported by The Carne Trust and Theatr Clwyd. It allows two directors to work at Theatr Clwyd for 18 months, assist on the productions, to work in every department in the theatre which is a truly unique type of Artistic Director traineeship where you get to see exactly how a building is run and operates. As well as that, at the end of the 18 months, you get the change to direct your own show at Theatr Clwyd. This kind of opportunity is few and far between and I’m incredibly grateful to Tamara Harvey and Philip and Chris Carne for providing it. I’d love there to be more possibilities like this for directors, to be able to attach themselves to an organisation or even a mentor for a longer period of time to allow their creative development. Working as an assistant director is great, and provides a lot of experience, but from being attached to a building I’m gaining so much more than just my ability as a director. 


What excites you about the arts in Wales? What was the last really great thing that you experienced that you would like to share with our readers? 

Scott: We have an insane amount of talent at our disposal in Wales. The possibility of all the incredible productions that could happen in the future excites me the most. The last really great thing I experienced was being in a packed auditorium at The Sherman for On Bear Ridge by Ed Thomas. The buzz inside was something I’d not experienced in a long time, and seeing actors like Rhys Ifans and Raike Ayola on a Welsh stage is so important. It creates a huge dollop of aspiration all round. 

Fran: I always get so excited about shows that come from Wales, we really do have such a unique ability to tell stories. Before lockdown, I was lucky enough to be the assistant director on a new musical by Seiriol Davies called Milky Peaks. Unfortunately lockdown landed on our first day of tech, so we never got to open the show at Theatr Clwyd (don’t worry we will!) so we asked the cast what they would like to do in that heartbreaking moment. They responded saying that they would like to sing the opening and closing number before we left, one last time. The amazing tech team did some epic live cueing to provide lights and sound, and the cast performed the numbers breathtakingly. In that moment I realised that artists are such resilient people and we have a deep, unabating need to tell stories, no matter the circumstances, and we always will. 

During Lockdown a range of arts and third sector organisations and individuals are now working online or finding new ways to reach out to audiences. Have you seen any particularly good examples of this way of working that you would like to highlight? 


Scott: I really loved listening to Dirty Protest’s Ritual plays online, and I thought The Sherman’s 10 monologues was a great project too. Any company that gives us theatre folk the sense of being creative and staying connected should be commended!

Fran: I’m probably one of the many, many people who have watched Hamilton on repeat since it was released, as well as the NT live productions. It’s not live theatre that we know, love and miss, but its something- and it’s brilliant. It’s allowing people to bring theatre into their homes, some who may not have been able to afford to go and see these shows originally, and it’s a great example of making theatre accessible for everyone. Gwennan Mair, who is director of Creative Engagement at Theatr Clwyd, and her amazing team is a brilliant example of how you can continue to reach audiences and more importantly communities during this time. They are still running online theatre workshops for hundreds of people weekly, including teaching elderly people how to use Zoom to they can keep connected to people, even if it is virtually! 

Thanks for your time.

Participatory Arts: Thinking Beyond Lockdown – Community Arts. Jên Angharad, CEO, Artis Community

Jên gave the presentation below as a part of the recent Zoom Participation Meetings. This meeting was supported by Art Works Cymru, NDCWales and Tanio. Thanks to Jên for sharing her statement.

Cyflwyniad Presentation: Participatory Arts: Thinking Beyond Lockdown – Community Arts. 18/06/2020

Bore da… good morning! Jên Angharad ydw i… I’m Jên Angharad… a year into my current post as prifweithredwr… CEO with a wonderful organisation that is Artis Gymuned – Artis Community.

Cyn i mi ddechre… before I begin… hoffwn jesd diolch i Guy, Lisa a’r partneriaeth, sy’ ‘di gwneud y sgyrsiau ‘ma’n bosib… ac am fy ngwahodd fel un o’r siaradwyr… I’d just like to say a big thank you to Guy, to Lisa and the partnership, that has made these discussions possible… and for inviting me to contribute as one of the speakers…. Diolch o galon!

So here we go…. Yn meddwl tu hwnt i lockdown… Thinking Beyond Lockdown … catapulting between what was…. what is … and what MIGHT be… at a time projecting into a future that is still unknown! Sounds like a dance improvisation to me! 

I’m not going to talk about the work that Artis did before lockdown, (perhaps you can visit the website if you want to know more about that – https://artiscommunity.org.uk) because beyond lockdown is of course, about our futures… the future of us… as creative, cultural organisations, of independent artists… the future of us as a practice… and the future of us as a community of practice that includes the people who we are building relationships with and people who we’ve yet to have the privilege of meeting, making and growing with…

A future that sits within a broader arts ecology, currently in crisis.

Mae ‘na fwy o gwestiynnau nag atebion… There are many more questions, than answers and so, I asked the Artis team and board, what are the questions they are asking about our future as an organisation and as part of a national practice beyond lockdown and I’m focusing this reflection on just some of the many questions they’ve shared with me!

So this is a collective effort that we can continue to explore further with our communities.

The first question is a big one! It asks for thoughts on how the community arts sector might navigate its way out of lockdown? This is probably a question many of us are trying to answer!

When we consider community arts as a sector, currently capsuled into zoom boxes and flat screens, I think navigation requires kindness, it requires us to take good care of our health and wellbeing and to support our colleagues and friends, so that we are then able to maintain good connections and support as best we can, the people in our communities who make and feed our collective creative practice.

Then I like to think that we can draw strength from being a community of practice that holds a common unity locally, regionally and nationally, we are after all a people practice. We are a community of improvisers, planners, dreamers, strategists, collaborators, communicators and engagers and isn’t it fantastic when we come together to share concerns, find solutions to puzzles and celebrate successes! Conversation platforms like this one are providing a space to reflect, share and learn… connecting, re-connecting and I hope, strengthening our collective knowledge, practice and passion into the future. The more we do this, the more we can feed a shared understanding and form a united voice, which I’m sure we can all agree, is needed if we are to convince the Westminster government, that the social and economic value of community and participatory arts, is crucial to the wellbeing of our both our current and future generations.

The next question asks… What impact can we have now, in the next few months and further ahead into the future? 

In Artis we’re learning through the stories of current lived experiences that in as much as it can never replace social 3 dimensional gatherings and interaction, we are making some difference to people who are engaging in our current digital, local doorstep drop offs, telephone conversations and posted activities… for some living in isolation and without access to digital technology, the non-digital activities provide a crucial connection with the outside world and that of their own imaginations.

Our digital activity has had a surprising impact, I think mostly on our own thinking about the possibilities that digital engagement can create!

The main driver for this development was an urgency…. a concern about how, during lockdown, we could possibly maintain a connection with the people who regularly take part in activities.

Refocusing practice into a digital domain is time-consuming work, but it’s worth it in terms of connecting people during social distancing, it means we can continue to employ freelance artists and we’re learning new skills!

But, if we are to survive beyond lockdown, we face an even bigger challenge and that is to add our voices to the voices of Arts Council of Wales and Welsh Government in influencing the thinking of the Westminster government… to call them to understand the need for and the benefits of, locally driven community and participatory arts experience… on health & wellbeing, on learning, on skill development, on identity, on our sense of place in this world, on our environment and on the economy and regeneration of communities. [These are] Community and participatory arts practices and experiences that are priceless and can be life changing.

Efallai mwy nag erioed… We now need perhaps more than ever, financial investment in the arts, and importantly, not just in the larger organisations, but in smaller companies and charities and independent artists who do incredible work in and with communities of people who can otherwise be invisible and feel the weight of injustices, amazing people who are entitled, after all, to explore a world of imagination, creativity and growth.

I attended an ArtWorks Cymru partners meeting yesterday to discuss the Parliamentary Committee for Digital, Culture, Media and Sport’s call for evidence, of the impact of Covid-19 on DCMS sectors… the deadline is Friday – that’s tomorrow! ArtWorks Cymru is drafting a national response and if we can, as organisations and individuals also submit responses, however small, our national voice – our sector voice can be louder. Our immediate challenge is to convince the current powers that be, of our relevance. 

Projecting forward… Beth yw’r heriau… What are the challenges of facing a new and different future?

There are undoubtedly big challenges ahead, not only in the practicalities of coming out of lockdown, and transitioning into choreographed… physical… social… spaces, but also in how we approach this… mindful that social distancing, isolation, ill-health and grief will have impacted individuals in many ways and require sensitive approaches to re-engagement.

Lockdown has unearthed the ugly truths about inequalities and injustices in our society and in as much as the Artis vision is well intentioned, we, as an organisation need to question what we mean when we say:

Mae ein gwaith yn ceisio creu lle i bawb

I brofi rhyddid mewn creadigrwydd a grym i ddarganfod gwychder mewn dathliad o fynegiant artistig.

Our work seeks to create space where all people

find freedom in creativity and are empowered to discover great moments in a celebration of artistic expression.

If we truly mean ‘pawb’ … ‘all people’, then we must proactively change our focus towards areas and cultures we are failing to reach in the South Wales Valleys. We know that we can’t do this alone. We need to work together with organisations and individuals to achieve this.

The unknown is perhaps, for most of us an uncomfortable prospect. But I think if we look to our community and participatory practices, that are by their very nature, improvised, uncertain, adventurous, unexpected… we can remind ourselves, that we can call on these same resources to propel us forward into the unknown, knowing that our collective creativity and resilience will see us through.

Diolch am wrando… thank you for listening!