This year for International Women’s Day (IWD), The Riverfront Theatre & Arts Centre in Newport take their International Women’s Day celebrations online with a programme of events taking place on social media throughout the day on Monday 8th March.
As the theatre is unable to open due to government guidelines, The Riverfront have taken the decision to still celebrate International Women’s Day in these challenging times and showcase a range of wonderful activities that can be joined and enjoyed from home. The theme for IWD 2021 is Choose to Challenge, as a challenged world is an alert world and from challenge comes change.
Community Arts Development Officer and International Women’s Day co-ordinator Sally-Anne Evans comments ‘It’s fantastic to be working on International Women’s Day again this year as it is always a great opportunity to come together and celebrate. This year we want to highlight the amazing creativity in our communities, and we are sharing our event virtually with some amazing activities both on the day and throughout the following week.
We are focussing on our female artists, musicians and makers to share their work, as well as offering links to activities and workshops run by other groups and partners. A lot has happened in a year, but it feels good to be able to provide a platform for people to share and celebrate together. More than ever it feels like we need it.’
Throughout the day there will be a range of activities taking place from fitness to writing, crafts to music, dance to reflection. There will be the opportunity to dance along to the IWD 2020 Zumba routine choreographed by Newport Live instructor Mandy Knight and her Thursday morning FitSteps class, and there will be a live low intensity Functional Flow fitness class hosted by Newport Live instructor Erin.
Performance piece ‘Tripping Through Newport’s Underbelly’ which was devised and performed by Marega Palser will also be showcased. This BOSCH Observation piece is a journey through underpasses, subways and some of Newport’s in between zones that people move through rather than stay in. Spaces that are home for some, dumping grounds for others.
Digital events hosted by IWD partners will be showcased including a Therapeutic writing workshop, an IWD pub quiz and an informative talk and interactive singalong on the hymn ‘The March of the Women.’ The Riverfront also encourages you to take some time and think about what you Choose to Challenge this year, whether that’s calling out gender bias or inequity, celebrate women’s achievements or making a change in your own life to help create an inclusive world. Share how you #ChooseToChallenge on social media.
The Riverfront’s International Women’s Day celebrations will end at 7pm with a pre-recorded bilingual musical set featuring opera director and creative producer Rhian Hutchings performing alongside multi-instrumentalist and singer Stacey Blythe.
On Saturday 13th March The Riverfront is partnering with the Kotatsu Japanese Animation Festival to support the WOW Film Festival Women’s Film Club event Kotatsu Shorts: Women Make Animation. This free event will screen a hand-picked selection of animated shorts made by up-and-coming female animators working in Japan that are suitable for all ages. The ticket for this event will also include access to a live creative workshop on Zoom with Japanese animator and illustrator Chie Arai showing you how to draw a girl in a kimono.
In the weeks following International Women’s Day the Riverfront will also be showcasing inspirational female artists, organisations and groups within our creative communities across social media, including an exclusive performance from Aleighcia Scott. If you would like to be featured contact firstname.lastname@example.org sharing your work and let us know why IWD is important to you and what you would #ChooseToChallenge.
To keep up to date with The Riverfront’s program of events for International Women’s Day follow them on social media, Facebook.com/ TheRiverfront or visit newportlive.co.uk/IWD.
In response to the lockdown triggered by COVID-19, many arts organisations have taken their work online, sharing content for audiences to view for free. However, creating participatory engagement online is much more challenging and, as a sector used to being face to face with people in their practice, it’s clear that the current restrictions change the nature of participatory arts based activity substantially.
Following a vital conversation on social media led by Guy O’Donnell, Learning and Participation Producer, National Dance Company Wales which opened a discussion on how we can deliver participatory arts effectively, a range of partners are collaborating to lead Zoom discussions for the sector where we can talk about the impact of the lockdown on our work and work creatively together to think beyond the lockdown.
In partnership with ArtWorks Cymru a series of free Zoom meetings have been set up to discuss and share current working practices in participatory delivery.
Capturing the Learning
These Zoom meetings will explore how we capture the learning from organisations and artists who are currently delivering projects. We’ll explore what methods are working well, what are we learning through this experience, and how we are adapting our working practices.
Kelly Barr, Arts and Creativity Programme Manger Age Cymru hosted the first Zoom participation meeting. The meetings are free to attend but numbers are limited. Kelly gives an overview of the work Age Cymru has created to meet the challenges and the companies solutions to support the public and her service users in the current climate.
Hi can you tell me a little about yourself and your organisation?
Hi, I’m Kelly Barr, and I am the Arts and Creativity Programme Manager at Age Cymru, who are the national charity for older people in Wales. I have been working on participatory arts projects with all sorts of organisations for 6 years, including NDCWales, Earthfall and the Sherman.
The two main arts projects here at Age Cymru are Gwanwyn Festival, an annual celebration of creative ageing which happens in May each year, and cARTrefu, the largest arts in care homes project in Europe.
We also run other projects throughout the year that might try to tackle isolation and loneliness (like our Gwanwyn Clubs), stereotypes of ageing or representation of older people.
Your organisation is hosting one of the free Participatory Arts – Capturing the Learning / Beyond the Lockdown meetings. Why do you agree to support these events?
I am in a very fortunate position to still be working at this time, and I felt like I had a responsibility to support conversations within the participatory sector. I saw many people reacting wonderfully quickly and adapting their practice, but I also recognised that that isn’t always an option, particularly with the groups of people that I work with. I have always believed that we have much to learn from each other so it was an ideal opportunity to do my bit to support some good practice sharing.
What challenges has lockdown present to the delivery of your service?
Gwanwyn Festival has often been about bringing people together, many of whom are in the high-risk category at the moment, so we made the decision fairly swiftly to postpone the festival.
We had a duty of care to protect the people that might attend the festival events, and those that are running them.The creative ageing sector is very supportive so I have been lucky enough to have regular chats with colleagues across the UK and Ireland (Gwanwyn Festival was inspired by Bealtaine Festival), so that we can support each other to think about how festivals like ours might work moving forwards.
We also knew early on that it was going to be difficult to continue to deliver the cARTrefu project, as care homes were starting to close their doors in early March. We’re lucky to have supportive funders who we will be able to work closely with as things progress. We have multiple scenario plans but are very much being led by what care homes want and need right now.
What issues have your service users/participants faced?
I’m really proud to be part of Age Cymru, as they have been able to adapt really quickly during the pandemic to ensure that older people in Wales are supported. We run an Information and Advice line, which received a 200% increase in calls at the start of the pandemic; people needed advice on whether they should be self-isolating or shielding, where they could get support with food shopping and collecting prescriptions. People have also struggled to access their money, and needed support to find new ways to stay in touch with family members. I’m pleased to say that we have been able to help, in partnership with our local Age Cymru partners, Age Connects and other voluntary services across Wales.
What systems did you put in place to ensure delivery?
Many of us are well-used to working from home, but it’s been really important to find moments to connect with colleagues. Many of us are spending most of our day making calls to older people through our Check In and Chat service, so it’s not always easy to have online ‘meetings’ as often as we used to have physical meetings. So we’ve set up Whatsapp groups, we send voice-notes, have catch-up phone calls, send pet pictures (in my case, plants!) as well as whole team Zoom and Microsoft Teams meetings. It’s ever changing and adapting!
With my specific work, it’s about being available to our partners and being flexible and open about the realities. We’ve been taking time as a team to think further ahead, and problem solve, and take any opportunities we can. We’re also keen to use Gwanwyn and cARTrefu Facebook, Gwanwyn Twitter and cARTrefu Instagram to promote creative opportunities for older people as far as we can.
Did you have any particular challenges or success that you would like to share?
Back in April, I, like many people who are in a position to, wanted to offer out informal chats to anyone interested in running creative ageing projects, or having to adapt current projects. I had no expectations of what would come from this, only that it felt like the right thing to do, but it’s introduced me to new practitioners and individuals, which has helped to build up my understanding of what’s happening in Wales. Many people I might have struggled to physically meet pre-lockdown, due to being based in Cardiff, I have been able to connect with over the phone. I hope to continue to offer this out and to meet more people – digitally!
What are your plans for future delivery?
We’re exploring a range of options at the moment, but we’ll be working closely with our Gwanwyn Festival event organisers to look at how this might be possible. There may be ways to replicate events online, or using social distance rules. I have no doubt that our event organisers are already coming up with innovative and interesting ways to continue to connect to people and I’m looking forward to working together to adapt and learn!
With cARTrefu, we are ensuring that we are listening to care homes, and being led by their needs right now. We have developed a fortnightly e-newsletter that gives care homes low-resource activities to try, and links to lots of online performances and activities from Age Cymru (like Tai Chi classes, now on our website) and other organisations.
I’m aware that we’re now regularly speaking to people that are more isolated, some of whom who aren’t connected to the internet, so a lot of my thinking has been about how to stay connected to them and to provide interactive creative opportunities that are offline.
I’d like to highlight Age Cymru’s Friend in Need service that has launched this week, and direct anyone to it if they’ve been supporting someone who is self-isolating or shielding through lockdown. There’s lots of useful guides and resources, as well as details of our new Befriending scheme – Friend in Need
A range of organisations have worked to continue delivery of their art form during lockdown are there any that you would like to mention that you found either professionally or personally useful?
I’d love to highlight the wonderful speakers from our first Participatory Arts Capturing the Learning Event:
Many Welsh or Wales based arts graduates are finding this current period especially difficult. Their usual opportunities to meet agents, prepare for final year exhibitions or productions may take place later in the year or sadly not at all. To raise awareness of the diverse talent graduating this year GTC is offering any Welsh or Wales based graduate the opportunity to be showcased on our website. If you are interested, please do get in touch.
Hi Anna great to meet you, can you give our readers some background information on yourself please?
I have a background in Support Work, Drum Circle Facilitation and Therapeutic Work with the Touch Trust in Cardiff Bay, supporting participants who have a variety of needs to explore the Arts during sensory sessions. I am now going on to develop my business called ‘Young at HeArt’; supporting people of all ages and stages to explore the Arts in intuitive and creative ways. You can find out more about me at my website. Facebook or Instagram.
As part of my graduate, online art exhibition for the final year of my Creative and Therapeutic Arts Degree Course, I will be hosting an ‘Online Parade,’ based on the old folklore tale of Pontypridd’s River Taff. The ‘Online Parade’ will take place on May the 16th (2020) (arriving for 1:45pm) starting at 2pm.
So what got you interested in the arts?
I always enjoyed art in school. In fact, I went to a Steiner School from 14-18 years old. My education at the Steiner School in Edinburgh encouraged me to pursue art as my passion as everything we learned was taught in an arty and holistic way.
Can you tell us about your creative process?
During my last three years at University, I have discovered that Community is my ‘Art’; my Arts practice revolves around the participants that I work with and their needs. I enjoy exploring the Arts in an intuitive sense, supporting my participants to shape our Arts sessions together in ways which suit them and their creative process.
As a young Welsh artist graduating during a very difficult period what investment and support do you think is required to enable your career to develop and prosper?
Interestingly, I’m actually from Scotland in Edinburgh, although I studied my course in South Wales. At the moment my biggest question is “Where would I like to live next?” In a sense, the world feels like my oyster. I’m happy to go where the work leads me at this point. If someone was to offer me a Community Arts job, working with participants of all ages and stages in a holistic environment, I would be very happy with that!
A range of arts organisation 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?
At the moment I am working on an online Arts project with Artis Community, exploring the mask making along the theme of ‘Your Inner Warrior.’ At the end of this project, once I have made a series of videos detailing how to make and what you can do with your ‘Warrior Mask,’ I will facilitate a ‘Masquerade Hour’ on Zoom. I’m really looking forward to this!
I’ve also really enjoyed engaging with some of my drummer friends online. For example my friend Jane Bentley, Doctor of Music, has been working with ‘Luminate’ to show people at home how they can turn their living rooms into an orchestra made out of every day household items.
If you were able to fund an area of the arts in Wales what would this be and why?
I think I would fund more intergenerational projects; encouraging older adults and children to explore the Arts together and teach each other their own artistic skills. I am very passionate about working with intergenerational groups, as I think mixing the age groups can really encourage participants to try out new artistic mediums and most importantly, build positive friendships with each other.
What excites you about the arts in Wales?
There seems to be so much going on in the South Wales creative scene! Through my University course I have connected with many amazing Arts professionals who are doing some very exciting and valuable work in hospitals, schools and communities. There seems to be lots of creative opportunities popping up all the time which is wonderful.
What was the last really great thing that you experienced that you would like to share with our readers?
Over the last year I have been working on a project called ‘The Heartbeat Project’ with Studio Response at the Royal Gwent Hospital in Newport; supporting children in hospital to create musical and artistic responses to their heartbeats which they heard through a stethoscope. While my participants played their responses to their heartbeats on djembe drums, bells, chimes and other percussion instruments, I recorded the them on my phone and then we listened back to the recorded sounds and painted what we heard onto a sheet of paper. I am currently in the process of also making a soundscape out of the sounds which I explored with each group of participants. This soundscape will be played in the Multifaith room in the new Grange Hospital in Cwmbran once it has been fully built.
Adding to the ‘Death at the Fringe’ sector this year, Fine
Mess Theatre bring us a death celebration.
When a young woman finds herself dying, all she wants to do
is celebrate her life and go out with a bang. Not so much an unusual tale in
today’s modern age, funeral parties before the death of someone is becoming
increasingly popular – However, Fine Mess Theatre take this subject on with
great intent and a refreshing approach.
The combination of scripted performance and audience interaction
is equally measured. We are invited as guests; we are not made to feel like the
audience but part of a really exclusive group of friends – given party hats and
sweets, asked for our suggestions and addressed by names, (on a name tag we
write at the beginning, but somehow the performers never make it seem as if
they are reading them) we feel a part of this woman’s life. We feel the
emotions and we feel the love.
The script is perfectly natural. Perfectly rehearsed, it
does not feel scripted and if we were not at the fringe, it would be hard to
guess that this is indeed a play; the performers interact and project their
lines as if it was real life. The only theatrical break is when we are involved
in the party and so there is a dramatic turn to the in depth and naturalistic
scenes on stage.
And while partly heart breaking, partly realistic, there is
some comedy to it. And these parts are not dramatised. Again, this is part of
the script, naturally approached and so beautifully humorous, as one would find
in a normal conversation among friends.
A Wake in Progress is true to life, deeply thought out and well executed. While a funeral is not something to find joyous, this celebration is worth the attendance.
If there was ever a time we needed a WOW festival, it’s in 2018. Women of the World celebrates women and girls and takes a frank and at times challenging look at the obstacles faced by women.
It’s a global movement akin to the ‘V Day’ celebrations I have been lucky enough to be a part of elsewhere in the globe. This would be the first ‘full-blown’ version of the festival to take place in Wales (between 24th-25th November) and the first bilingual version of the festival. Both V Day and Women of the World celebrations aren’t purely about one topic, one issue – this year’s WOW Fest held everything from workshops on fixing bicycles to polemical clowning and talks/workshops on homelessness, self-care, black women’s hair, boxing, movement and storytelling.
This is very much about helping women to discover something new, finding solutions and new ideas to tackle problems old and new. It’s not a conference or a symposium, but a place you come to meet, connect with others and be inspired to take part.
Founded in 2010 by Southbank Centre’s Artistic Director, Jude Kelly CBE, it’s the biggest gathering of women and girls around the globe, reaching over 2 million people in 20 cities across 5 continents. It cooks up a series of varied, entertaining and challenging talks, debates, live music and performance, activism and comedy, along with mentoring and pop up events to create an eclectic and localised version of the larger global movement.
The 2018 WOW experience in Wales took place at Chapter Arts Centre, a smaller but perhaps more homely venue than a previous version of the festival was held in 2016 – at the Wales Millennium Centre. This year’s version featured a line up including Gwenno Saunders, Charlotte Church, Sian Evans, Lula Mehbratu (The Digital Migrant), Sahar Al-Faifi, Sian James former MP, Gemma Price (Boxing Pretty), Anna Hursey, Shahien Taj OBE, Lucy Owen (BBC Wales) and LayFullStop.
The staff handling the festival were wonderful, everyone from the lively chap checking me in, despite my apparent lack of ability to talk and articulate sentences that day, the ‘caped crusader’ volunteers donning glittery WOW capes, who brought so much pep and joy to the proceedings and helping headless chicken types like me navigate their way around. Then of course the regular Chapter staff who do so much to make everyone feel welcome.
It’s a lovely open space, but intimate enough not to feel intimidating unlike the labyrinth-like WMC, in which even the most regular of customers can still feel a bit lost and overwhelmed. Due to my Thanksgiving celebrations that weekend (perhaps this had something to do with my not being able to speak when I arrived), I unfortunately missed the majority of the festival and arrived towards the end of the final day, around 3.30pm.
There was still lots to see, lots going on and there was no sign of anyone’s enthusiasm waning. There was a lively, energetic atmosphere in Chapter’s Café Bar and members of the ‘Only Menopause Allowed’ choir were getting ready to perform. I caught the majority of the moving accounts of women affected by the Grenfell and Aberfan disasters during a panel discussion in Chapter’s Cinema 1 space.
Hosted by festival founder Jude Kelly, this was a sensitive but ultimately eye-opening account of the experiences of the women at the centre of both tragedies. We heard the terrible story of a panelist’s sibling whose family were torn apart by the death of her sister who went to school on the last day of term over 50 years ago and never came home.
Her father had been Chair of the Aberfan Memorial Site and spent his entire life fighting for justice for families in Aberfan after the NCB decided that £500 was a sufficient amount to compensate for the lost life of a child. To add insult to injury, the victims were forced to pay from their own fundraising fund for the NCB to remove the slurry and waste that had killed and injured so many.
This was a sobering account of both tragedies, where the guest speakers spoke with grace, real compassion for the other panelists and determination to see justice for the victims. They were not giving up the fight – and 52 years later, the daughter of the Chair of the Aberfan Memorial site had taken up the baton from her father and continues to campaign.
The Grenfell representatives who’d come down from London to tell their story spoke of being side-lined by local authorities, abandoned by the Government and belittled by large global charities. Theirs was a story of women the world over – organisers, do-ers, campaigners, nurturers – being rendered voiceless by individuals and organisations that assumed they knew better.
Like Aberfan, the fundraising efforts in Grenfell were mishandled by outside forces. Donations which had poured in from the public disappeared without trace, no explanation given about their whereabouts. Families struggled to gain access to funds and slowly – another community lost faith in those who were meant to protect them, more than 50 years after this happened to a community over 200 miles away.
The kinship these survivors and campaigners showed on stage was clear and their dignity and fortitude was incredibly moving. After leaving the Cinema/discussion, it was clear that the content of the talk had clearly affected some audience members, who left the Cinema weeping or being comforted by friends and relatives.
With limited time remaining, I decided to explore upstairs in the hopes of catching an act which had caught my attention in the programme. LayFullStop (I’d never heard of her before) is a female hip-hop/soul artist from Manchester via Birmingham. Accompanied on Stage by Woddy Green, who she has collaborated with on a number of tracks, I was surprised that such a small and unassuming young girl could possess such an incredible sultry voice and ferocious bars.
She’s been honing her talents with well-known collectives Cul De Sac and Roots Raddix and has built a cult following since 2016. It’s been a while since I have been in the loop when it comes to music and musical trends and probably more than 20 years (or more!) since I actively bought hip-hop music or read about it in ‘The Source.’ Apart from attending a Biggie Smalls Memorial Concert in my late teens and listening to Snoop Dog on Spotify now and again, that’s about as far as my knowledge goes these days.
LayFullStop amazed me, I had only intended to pop in for a quick listen but watched her entire set from start to finish. If you’ve ever had a passing appreciation for Erykah Badu, Lauryn Hill or Lil Kim, you will love her. This was an utterly refreshing musical style and approach for those who like me find the ‘style over substance’ direction of hip-hop and music in general, a bit distasteful, fake or even tiresome. Her sound is slick – and far from the blingy, flashy humble (or not-so-humble) bragging which tends to dominate hip-hop performed by men, LayFullStop lets the music do the talking, rather than her style.
Her tracks are a sweet fusion of silky jazz, nostalgic soul and UK hip-hop, delivered with wit and panache from a small but fierce Mancunian. It’s rare for artists to skip so effortlessly from punchy hip-hop to sweet singing voice, but more than that – her lyrics are gold, focusing not on the more material and shallow aspects you tend to find in popular culture, but of the life-enhancing elements we can all identify with: finding your inner voice and power, enjoying touch and sensual experiences as a woman, growing intellectually and spiritually.
This to me is true influence and I felt richer for being part of it…she’s been on repeat on Soundcloud since the weekend. Women: I urge you to listen to this phenomenal woman from Manchester.
When you listen to her singing ‘Intact (Cradle Me)’, ‘Kansas’ and ‘Bohemian Queen’ you will be fixing your crown and sitting up a little straighter before facing the world.
Even in such a small snippet, this festival was a tonic for the sisterly soul. Thank you LayFullStop and WOW Fest for giving me some courage and hope on a rainy, grey weekend – if this is what the future looks like, then we’re in good hands.
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