In this latest interview, Get the Chance member Gareth Williams chats to screenwriter Fflur Dafydd. Their chat takes place in the form of a podcast, the second in a trial series in conversation with Welsh creatives. Fflur talks about her latest series, Yr Amgueddfa, as well as the writing process, her creative journey, Welsh identity, memory, and Welsh TV drama.
To find out more about Fflur, visit her website here, or follow her on social media @fflurdafydd.
You can watch the whole series of Yr Amgueddfa on BBC iPlayer here.
Get the Chance supports volunteer critics like Gareth to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here. Thanks.
A hybrid, yes – but with an all-star cast. With a live performance staged at the Oxford Playhouse by the Original Theatre Company in association with Perfectly Normal Productions and screened for one night only, A Cold Supper Behind Harrods, written originally as a radio play and broadcast as such by BBC Radio 4 back in September 2012, is now being streamed with the original cast and available on line for a modest fee.
Dubious as one’s early approach to virtual theatre might have been, the value of such screenings is now a given, and deservedly so. And this one is top of the class. Despite the starry cast, amazingly so when you learn that they are performing a live reading from the script after just one quick run-through beforehand.
The result –iconic! Admittedly, all three of the main protagonists are names you will recognise, and are theatrical veterans who have been around a long time. To whit – Stephanie Cole (ladies first), David Jason and Anton Lesser, all highly skilled thespians. Nevertheless, as is admitted in the Q and A afterwards, for all of them something completely new.
Not surprisingly, all of them rose to the challenge admirably, despite being faced with David Morley’s complex storyline, centred around the SOE (Special Operations Executive) during World War II. Three SOE agents meet up again fifty years after the war, the purpose being to be interviewed for a television documentary investigating the murder by the Gestapo of their late female and much-loved colleague.
Initial pleasantries between the three-give way to more disturbing issues as a web of lies and deceptions emerges, leading at last to the real truth. Inspired by real life characters and events, it makes for gripping entertainment, made even better by an outstanding cast and Adrian Linford’s deceptively simple set.
David Jason, stage veteran of such iconic television series as the unforgettable Only Foolsand Horses, as agent John Harrison proves once again that age is no barrier when it comes to sheer brilliance. As Harrison crumbles beneath the weight of knowledge revealed, Jason is utterly believable.
As the female agent Vera, Stephanie Cole is at her best playing irascible females and she doesn’t disappoint, with that roguish smile shining through at odd moments, while Anton Lesser projects a cool calm that later erupts into menace.
Adhering to Morley’s original script, which was inspired by the playwright’s meeting with two WWII veterans, the story is fictional, with love, revenge and feelings of guilt at its core.
Don’t miss it. This is a play that will pull you in from the start to the finish.
The title of this play, in itself should give you an inclining to its concept and writing. Blunt, dark, surely to take you by the lapels and shake you.
The Death of a Black Man, written by Alfred Fagon in the 70’s is a raw and laid bare story about black culture in the UK and the development of generations from the Windrush movement and London itself. There is no beating around the bush with this play and it takes a lot to sit and watch with its darkness seeping in slowly.
The Death of a Black Man tells the story of Shackie, his career development as a wheeler dealer in London, his battle with his own heritage and how far he will go to make it as a black man in a still very difficult and competitive society with race. Soon, his equally minded best friend comes along, selling his ideas and the two concoct ideas of exploitation of the white man, to make money but also to support black power. Starkly contrasted, Shackie’s older ex girlfriend appears, a black woman but from a middle class background, lacking an interest in her heritage and support of the movement. It is soon evident that these two will stop at nothing to make it in this world, even if it means betraying those in their own community.
Fagon limits nothing in this play. The language is of its time, with words and phrases perhaps not said today, making it shocking and at times awkward – but as this play grows darker and darker, this feeling is clever and well executed and only adds to the tension and the final crescendo. What is brilliant is there is nothing held back about Caribbean and London Black community culture, highlighting the development of these 2nd Windrush generations with their joint use of London and Caribbean phrasing and accents as they intertwine. As someone from neither community, this takes a little time to feel yourself in the swing of the writing and how it is produced but feeling the energy of those in the audience from these communities, it feels as if it is on point and reflective of those communities. It also gives a great insight into the culture of the time and how those communities were feeling, contrasting views between Shackie, who is happy to just create a career and utilise his heritage to get there; Stumpy who is a developing activist for Black Power with a underlying hatred for white people and the country he is in and Jackie, whose middle class background has washed away any interest in her heritage but who is as dark and cynical as the other two about life.
With only three performers, it felt as if we had cut away into this living room and was easily watching a normal conversation. Their acting was effortless and easy, with the added 70’s aesthetic making this feel like a piece of history. It felt very reflective of what you usually see at The Royal Court which is always very well done – something simple and naturalistic, with elements of theatricality bursting through. In this case, the conversation acts out naturally and a change of scene brings in the contrasting theatricality with music, lighting; the stage and scene changes before our eyes as the characters almost fasten up time, moving props and staging which would have happened naturally throughout several hours as they drink champagne into the night. The final part felt particularly theatrical, with naturalism taken away and symbolism and theatricality added to enhance the darkness of the writing.
My only critique is that it felt as if these natural, spoken scenes took too long and didn’t add or emphasise much by doing so. Fagon, sadly, writes about Shackie’s fathers death which unfortunately mirrored the writers own, little did he know. And while a brilliantly written play, it felt as if much of this production was trying to keep to its legacy, with a fear of maybe changing too much, cutting too much out or bringing it to the modern stage. Perhaps the fear of changing it and therefore it no longer being a homage to Fagon held it back in what it could have become. Points and elements, which as previously said were very much of the time, felt a little like it went over my head but I can definitely appreciate that this may be because I wasn’t alive in the 70’s to understand the references or culture, as well as the Carribbean/London Black Community not being my community. I would be really interested to hear from a reviewer of this community to know how reflective this really is and how it relates to the modern community.
The Death of a Black Man is interesting, it is dark, it is cleverly executed but something felt lacking and as if it really held back what is really possible with this production.
In our industry, there is often questions, perhaps never elaborated on fully when it comes to what actors go through. This is even more troublesome and often taboo when it comes to young performers.
Look Who’s All Grown Up by Abigail Chandler lays the taboo and secrets bare, without letting you ignore or look away. A coming out story of sorts, we meet two young performers who have reached the point of changing in their personal lives from children to adults but also in their performance careers. Highlighting issues with puberty in both the personal and professional but also what this means for their development in both areas and how quickly things can change.
We see three viewpoints – from a male, from a female and from an LGBTQA+ person. All similar yet staggeringly different, the three character’s stories are compared and contrasted, in experience, in opportunities and also in the unspoken – the Me Too movement and its application to child stars of any gender, but what this also means when you yourself transition from being the child to the adult in awkward situations.
Look Who’s All Grown up is carefully constructed to ease you into this headspace, and so when things become heated or awkward, you feel it in your gut, yet cannot look away. The character of Felix particularly lays everything bare, with a sense of humour and it isn’t until later that you can really understand the trauma it has caused. You fall in love with him yourself, not only with Chandler’s writing but Daniel Bravo’s effortless acting, adding a level of whether this is okay in relation to the topic, seriously highlighting the issues between the transition of child actors to adult actors.
Caitlin, played by Kalifa Taylor also shows a very good contrasting character and her personal growth, from an anxious girl with mental health issues to someone confident, knowing her worth but perhaps escaping the stories we hear of sexual misconduct with women and young ones at that. It was refreshing to have a strong woman character, helping the male character when these stories are often over looked.
Look Who’s All Grown Up is quirky, it is humorous but also highlights important points that are rarely laid bare and hits you in the gut with these facts.
Who would have ever thought that Samuel Beckett and Madonna would ever be thrown together in a play?
No one, till now.
Godot is a Woman, by Silent Faces, is nothing short of a masterpiece. If, like me (and Silent Faces), you are a huge fan of Samuel Beckett, particularly his play “Waiting For Godot”, and a liberal feminist, then the title alone is enough to tickle your fancy.
I try not to read too much about a production or a company before I see a show. I like to be thrown in the deep end and figure it out for myself. No presumptions or expectations. And am I glad I did for this one.
We meet 3 performers who want to put on Waiting For Godot. They reflect the original play by waiting for the Beckett Foundation to answer their call for the rights. As time goes by, the 3 battle with the reasonings on why they would be refused, a lot stemming from past beliefs in society, and hugely and predominantly focused on gender politics.
There’s an element of people who have a love/hate relationship with someone. Beckett, while a brilliant writer, specified that Waiting For Godot could not be played by females or anyone other than male, to loosely include non-binary people; I say loosely as this was never specified, in the terms of “Only a male can play these roles” way. This is thrown out in the open and discussed through performance – and it makes you feel something not necessarily easy about your own love for the play and playwright but in a good way, because it is important to address.
Silent Faces evoke the pauses, the silence, the staccato word play of Beckett when working through these thoughts. They bring in hilarious and highly hammed up characters in a pretend court room to highlight different facts and fables from both sides of the argument which in itself highlights the ridiculous nature of even having to argue gender for a play about self discovery.
They bring in elements that bring the whole play into the 21st century – instead of waiting for a person, they wait by a telephone that has a recorded message while they wait alerting them to the website. They bring in almost Brechtian elements, surprising us with dancing and music, such as Madonna, that would never have been seen in the style of Beckett. They give us a brief history of feminism and gender equality through music, dance and summaries of important elements from selected years e.g. Harvey Weinstein and the Me Too movement, androgynous celebrities and so on. And most importantly, highlights are brought onto Non-Binary persons. A exploration of the Beckett foundation’s elimination of anyone not male playing these faithful parts, including those who do not identify as either male or female and whether this is a sign of the times or something more. Again, we are thrown into history, learning something new about gender politics and how non-binary has been in lots of different cultures for thousands of years and that changing in times is not an excuse.
Godot is a Woman is hilarious, insightful, polished, educational and a brilliant production. While you feel a little uneasy as a Beckett fan, the fact it makes you question society and whether his approach would have changed makes it all the more interesting, making you further question the world we are in and the arts sector.
Matthew will join the company in the Autumn direct from his role as Artistic Director of VERVE, the postgraduate company of Northern School of Contemporary Dance (NSCD) where Matthew has led the company for five years. Matthew is a practising artist having worked as a dancer, choreographer, facilitator, Rehearsal Director and Artistic Director.
Matthew was appointed Artistic Director of VERVE in 2016, under his direction VERVE became known for its bold commissioning, collaborating with world renowned and fresh choreographic voices like Botis Seva, Maxine Doyle and Sita Ostheimer to create distinct, engaging programmes of dance work, reaching thousands of people each year, onstage, online and in outreach work. Matthew is excited about sharing his vision for what dance can do with audiences and participants in Wales and beyond.
Matthew said: “I grew up in a small Devon town, a young gay person. I did not know how to identify myself. I did not see myself in the media or in my community. Dance offered me an inclusive space where my identity could flourish, I lead with this in mind every day, seeking to develop dance as a safe and ambitious space for all.
Watching or participating in dance can have a profound effect on somebody’s life, it can change how we see ourselves, others, and the world around us. I believe this because I have lived it. Seeing yourself represented on stage, feeling your life experience translated in front of you, or being swept away by an immersive world created before your very eyes. Dance, at its best, is transformative, inspiring, entertaining and provocative. We can challenge and be accessible, be physically thrilling and politically powerful. I believe in engaging, ambitious programming reflective of 21st century society in all its diversity and beautiful complexity. I bring my ambition to reach beyond core dance audiences, to be a catalyst for the change we seek in our world.
I look forward to gaining insight into the unique ecology in Wales. I am eager to learn about and work with the Welsh dance scene. We all have our stories to share, and our perspectives to reveal, and I look forward to having these conversations and collaborations. I look forward to sharing my vision for what dance can do for audiences and participants in Wales and beyond.”
Jane McCloskey, Chair of the Board of Trustees said:
“I’m delighted our search for a new Artistic Director attracted such a talented national and international field. Matthew stood out as an exceptional and exciting candidate for the role and will help us reach new audiences, new participants and new heights.”
Paul Kaynes, Chief Executive of National Dance Company Wales said:
“We had an exciting and international field of applicants, but Matthew captured the opportunities to work in new ways to create change in our world, putting the communities of Wales at the heart of his artistic plans, and telling the stories of Wales around the world. His deep commitment to inclusion and diversity in his work and the artists he works with, will enable the Company to continue to present world-class dance made by artists from many backgrounds. We’re incredibly excited to be welcoming him to Wales.”
Matthew is a graduate of London Contemporary Dance School and danced for many years for Scottish Dance Theatre, performing work by a diverse range of international choreographers, including Sharon Eyal, Damien Jalet, Hofesh Shechter, and Victor Quijada. In 2013 he took on the responsibilities of Rehearsal Director, supporting the dancers and guest artists in their creative process, and the company on multiple international tours.
Living in lockdown after lockdown has facilitated more binge-watching than ever before, and a lot of us have taken the chance to catch up on shows we missed the first time round. I’ve finally caught up on Fringe, Red Dwarf, and Life on Mars/Ashes to Ashes. I’ve rewatched more of the Stargate franchise than is healthy and puzzled my way through Neon GenesisEvangelion. But two of my personal lockdown favourites, Spirited and Starlings, happen to have something (or, rather, someone) in common: and that’s Matt King.
King is known to many as Peep Show’s lovable crack addict Super Hans, but I first knew him as charming grifter Cookie in Guy Ritchie’s RocknRolla, in which he effortlessly stole scenes from the likes of Gerard Butler, Idris Elba, and Tom Hardy. While he’s perhaps best known for playing wide boys and weirdos onscreen (to great effect!), he’s also a dab hand behind the camera, having co-written and produced series like sketch comedy Dogface, acerbic sitcom Whites, and the subject of this review, Sky 1’s family dramedy Starlings.
Written by King and Steve Edge (who also star) and produced by Steve Coogan, the series follows four generations of the lovable and slightly chaotic Starlings, an everyday working-class family who all live under one roof. At its heart is happily married couple Terry (Brendan Coyle) and Jan (Lesley Sharp), and their three children: eldest daughter Bell (Rebecca Night), separated from her boyfriend Reuben (Ukweli Roach) on the eve of giving birth to their son; Gravy (John Dagleish), the layabout son with a penchant for reptiles; and Charlie (Finn Atkins), teenage football hopeful and seemingly the only person in the family who’s got it together. Add in Jan’s jack-of-all-trades nephew Fergie (Edge), eccentric Granddad Billy (Alan Williams), and Billy’s long-lost son, Loz (King), and the Starlings’ detached red-brick house is getting rather cramped by the end of the pilot.
Set in Matlock, Derbyshire under perpetually blue skies, the world of Starlings is beautiful to look at and to live in. King and Edge set out to make a comedy drama without the caricatures you’d find in your common garden soap opera, and they succeeded: while its contemporaries wring laughs from families falling over, falling out, or downright falling apart, Starlings is about people who both love and genuinely like each other – even when they get on each other’s nerves. There’s not a weak link in the cast, and their rapport feels natural and lived-in. Honest, gentle, and understated, Starlings delights in the everyday. It doesn’t just give you a window into family life – it makes you feel part of that family.
In doing so, it manages a deceptively tricky balance: it’s warm and genuine without being twee, funny without being farcical, snarky without being mean-spirited. It has an eye for detail and the small, quietly meaningful moments of life that other series tend to trample on or overlook entirely. It thoughtfully subverts toxic masculinity and crafts characters you relish spending time with. It’s also very refreshing to have a series where people are not just happy, but profoundly relieved, to be able to go home to their loved ones at the end of the day. In the Starlings’ world, family is sanctuary.
On an aesthetic level, Starlings is ideal summertime viewing. In many ways a modern pastoral, the series immerses you in a bucolic fever dream of British rural/town life that is still rarely seen on screen. Watch it in the winter, and you can feel the balmy breeze rustling through the trees of the Starling homestead; see it in the summer, and you can sense its warmth spilling over the edges of the screen. It was clearly a joy to make, and that affection is apparent in every frame – no wonder it attracted the likes of Dolly Wells, Cherie Lunghi, Vincent Regan, and Una Stubbs to guest star.
As I wrote about the dearly departed Spirited, discovering a gem of a show years after it’s ended is something of a double-edged sword. On the one hand, there’s the injustice of it being taken before its time, the realisation that there is a finite amount of the thing you love; a story unresolved. On the other, it’s like happening upon buried treasure; a rare jewel you never even knew existed and now couldn’t bear to be without. The appeal of unthreatening mediocrity means that countless copy-paste procedurals run ad infinitum and gems like Starlings get struck down in their prime. I wish it could have gone for longer. I wish it would come back. But whatever its fate, I’m grateful it exists in the world. It takes a little time to worm its way into your heart, but once it does, the Starlings come home to roost – for good.
Starlings is streaming on iTunes, Apple TV, Google Play and Amazon Prime Video.
Review by Barbara Hughes-Moore
Get the Chance supports volunteer critics like Barbara to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.
There is a sadness and deep sense of injustice behind the humour and surrealism of For the Grace of You Go I. Due to begin just before the pandemic hit, Alan Harris’ play may be long overdue but its delay has proved timely. Beneath the strange veneer of a storyline in which a man puts out a hit on himself lies a sobering analysis of the inequalities that coronavirus has exposed in society over the past 18 months. It makes for a darkly comic play that is both hugely entertaining yet deeply unsettling.
Its colourful set, of luminescent pink, green and yellow walls, belies the broken and struggling lives of its characters. They do reflect the dreaminess of their existence though. Jim (Rhodri Meilir), employed to put pepperoni on pizza as part of a government scheme, imagines himself as Employee of the Month – complete with giant rosette and accomplished chef’s hat – in one of several cartoonish scenes projected onto the walls. In reality, he is a thorn in his line manager Irina’s side. Played by Remy Beasley, she is under constant pressure to meet targets, and Jim’s daydreaming does nothing to help matters. Though work gives him a sense of purpose, she is forced to let him go. His only solace is found in a monthly film club where he meets new guy Mark (Darren Jeffries), whose obsession with American action movies makes him the perfect partner in Jim’s movie-styled life. After watching the 1990 Finnish film I Hired a Contract Killer, Jim decides that he wants to take the place of its protagonist and asks Mark to do the honours in killing him. It may sound rather far-fetched but there is a serious underbelly to its hyperbole and other-worldliness.
Jeffries gives an assured performance as Mark, whose Mancunian swagger hides a far more vulnerable masculine existence. He is terrific opposite Rhodri Meilir, who brings a beautiful innocence to the troubled Jim, their exchanges pacy and lively throughout to give a slightly unnerving edge to the funny and ironic dialogue. Beasley is wonderfully on-edge as the hassled Irina, maintaining a brilliant balance between sanity and breakdown such that her character fizzes both in dialogue and action like a loosely-corked bottle of pop. The pressures on all three are palpable in their different ways; and they give rise to the much bigger issues at play. Harris comments on mental health, consumerism, capitalism and the political system without ever being preachy. He achieves this through the disabling use of humour and by intimately tying the issues to the narrative. As a result, they ooze naturally out to offer a searing indictment on the oppressive systems and privileged attitudes in existence within society, tempered frequently by the comic form.
I had expected to be overwhelmed as I walked through the doors of Theatr Clwyd for the first time in 18 months. But though it felt special to enter the building to a familiarly warm welcome, made more so by the beaming sun as it flooded in through the windows; to give a knowing smile to the recognisable pictures on the stairs up to the Emlyn Williams theatre; and to be greeted by the same ever-delightful staff who were courteous and helpful as I got into a bit of confusion over my ticket number, it was the reminder of the importance of theatre, as a medium that can speak truth to power, that really made its mark. That importance has not gone away over the course of the pandemic. If anything, it has grown stronger and become more vital than ever. But having become acutely aware of this once-unspoken assumption outside of the context of its physical space and place, For the Grace of You Go I was the first opportunity for what had become apparent through the screen to be embodied within the bricks and mortar to which theatre most truly belongs. As such, Alan Harris’ already-powerful message struck an even deeper chord than it might have in pre-Covid times. If it had something to say then, it most definitely needs to be heard now.
Get the Chance supports volunteer critics like Gareth to access a world of cultural provision. We receive no ongoing, external funding. If you can support our work please donate here thanks.
Impelo is a charitable organisation that seeks to share the transformational power of dance as far and wide as possible, connecting people of all ages and walks of life in joyful expression. Everybody dancing – for themselves, each other and a better life.
At Impelo we create projects, programmes and productions which explore how dance can respond to health and social inequalities, creative learning and sustainability. Based in Powys, rural mid Wales we have a great reputation as an innovator of participatory dance practice https://www.impelo.org.uk
Through funding from Foyle Foundation we are delighted to be able to offer 4 collaborative incubation residencies, pairing up Impelo dance associates with recent graduates, or people considering returning to dance, over a 2 week period this Summer. We think this will be a great way of supporting our existing dance associates and bring new dancers to Powys to evolve their practice through a collaborative process.
We want to bring fresh creative energy into Powys by getting to know new dancers at the beginning of their careers and explore how we might work together in the future.
The programme aims:
To nurture recent graduates (2019, 2020 and 2021) and those returning to dance or moving from professional performance to community dance practice through a bespoke programme of workshops, classes and advice surgeries;
To raise awareness of the community dance landscape in Powys and to develop the ecology through building new relationships with new dancers in or around Powys.
We will select dancers who are interested in developing their community dance practice and connect with the region. We hope HATCH will contribute to a sense of community with the talented dancers here.
What we are offering:
A ten day incubation residency (online or at our Dance Centre in Llandrindod Wells, subject to Covid restrictions) and collaboration partner from the Impelo team; ;
Shadowing opportunities;
Practical workshops on delivering inclusive community dance sessions and making dance performance for specific audiences and communities;
Career development support and one to one advice surgeries;
Company class;
An opportunity to share current work in development or developed during the residency;
£700 fee
Who we are seeking:
Recent or about to graduate dancers who are curious about developing their careers in Powys as community dance practitioners and dance makers – either currently or planning on living in Powys, Wales or the Borders, or having grown up in Powys;
Dancers seeking to return to dance, or curious about community dance practice;
We particularly welcome applications from currently underrepresented dance practitioners deaf, disabled, neurodivergent, Welsh speakers and POC (and we understand and appreciate that these dancers may not have come through traditional dance training routes);
Dancers who can demonstrate how the incubation will benefit them in developing their careers;
Dancers who are ambitious to challenge themselves, their collaborators and us;
We especially encourage applications from people who come from a background that is under-represented in dance.
When:
The incubation residency will run from Monday 26th July and end on Friday 6th August 2021.
To apply:
Send us a recorded (audio or video) or written statement telling us about yourself, and how you think the incubation residency will help to develop your practice by 9amMonday 28th June 2021.
Sefydliad elusennol yw Impelo â’r nod o rannu grym gweddnewidiol dawns mor bell a mor eang â phosibl, gan greu cysylltiadau rhwng pobl o bob oedran, o bob lliw a llun, mewn hunanfynegiant llawen. Pawb yn dawnsio – er eu lles eu hunain, er lles ei gilydd, a thros fywyd gwell.
Yn Impelo rydym yn creu prosiectau, rhaglenni a chynyrchiadau sy’n archwilio sut gall dawnsio ymateb i anghydraddoldebau cymdeithasol a mewn iechyd, dysgu creadigol a chynaladwyedd. Ledled Powys yng nghefn gwlad canolbarth Cymru, lle rydym yn gweithredu, mae gennym enw da fel arloeswyr ym maes ymarfer dawnsio cyfranogol https://www.impelo.org.uk
Diolch i gymorth ariannol y Foyle Foundation rydym yn falch iawn o allu cynnig pedair preswylfa fagu gydweithredol, lle byddwn yn paru dawnswyr cyswllt o Impelo am ddwy wythnos â graddedigion diweddar neu bobl sy’n ystyried dychwelyd i fyd dawnsio. Credwn y bydd hyn yn ffordd wych o gefnogi ein dawnswyr cyswllt presennol a dod â dawnswyr newydd i Bowys fel y gallant ddatblygu eu hymarfer trwy broses gydweithredol.
Rydym yn awyddus i ddod ag egni creadigol i Bowys trwy ddod i adnabod dawnswyr newydd ar ddechrau eu gyrfa ac archwilio sut gallen ni weithio gyda’n gilydd yn y dyfodol.
Nod y rhaglen yw:
Meithrin graddedigion diweddar (2019, 2020 a 2021) a rhai sy’n dychwelyd at ddawnsio neu’n symud o berfformio’n broffesiynol at ymarfer dawnsio cymunedol trwy gyfrwng rhaglen bwrpasol yn cynnwys gweithdai, dosbarthiadau a chyngorfeydd;
Codi ymwybyddiaeth o dirwedd ddawnsio cymunedol ym Mhowys a datblygu ei hecoleg drwy fagu cysylltiadau newydd â dawnswyr newydd ym Mhowys a’r cyffiniau.
Fe ddetholwn ni ddawnswyr sy’n awyddus i ddatblygu eu hymarfer dawnsio cymunedol a chysylltu â’r rhanbarth yma. Ein gobaith yw y bydd HATCH yn cyfrannu at greu ymdeimlad o gymuned gyda’r dawnswyr talentog sydd yma.
Yr hyn rydym yn ei gynnig:
Preswylfa fagu dros 10 niwrnod (ar-lein neu yn ein Canolfan Ddawnsio yn Llandrindod, yn amodol ar argyfyngiadau Cofid) a phartner cydweithredol sy’n aelod o dîm Impelo; ;
Cyfleoedd cysgodi;
Sesiynau gweithdy ymarferol ar gyflwyno sesiynau dawnsio cymunedol cynhwysol a chreu perfformiadau dawnsio ar gyfer cynulleidfaoedd a chymunedau penodol;
Cymorth datblygu gyrfa a chyngorfeydd un ag un;
Dosbarth gyda’r cwmni;
Cyfle i rannu gwaith cyfredol sy’n cael ei ddatblygu neu a ddatblygwyd yn ystod y breswylfa;
Ffi o £700
Pwy rydym yn chwilio amdanynt:
Dawnswyr a raddiodd yn ddiweddar neu sydd ar fin graddio, sydd â diddordeb mewn datblygu eu gyrfa ym Mhowys fel ymarferwyr dawnsio a chrewyr dawns cymunedol – a sydd yn byw ar hyn o bryd, neu’n bwriadu dod i fyw ym Mhowys, Cymru neu’r Gororau, neu wedi tyfu lan ym Mhowys;
Dawnswyr sy’n awyddus i ddychwelyd at ddawnsio, neu’n chwilfrydig ynghylch ymarfer dawnsio cymunedol;
Rydym yn croesawu’n arbennig geisiadau oddi wrth ymarferwyr dawnsio sydd ar hyn o bryd heb gynrychiolaeth ddigonol – rhai B/byddar, anabl, niwroamrywiol, siaradwyr Cymraeg a Phobl Groenlliw (ac rydym yn sylweddoli ac yn deall nad yw’r dawnswyr hyn efallai wedi dod trwy lwybrau dawnsio traddodiadol);
Dawnswyr sy’n gallu arddangos sut bydd y breswylfa fagu’n fuddiol iddynt wrth iddynt ddatblygu eu gyrfa;
Dawnswyr sy’n awyddus i’w herio eu hunain, eu cydweithredwyr, a ni;
Rydym yn croesawu’n arbennig geisiadau gan bobl sy’n hanu o gefndiroedd sydd heb gynrychiolaeth ddigonol ym myd dawnsio.
Pryd:
Cynhelir y breswylfa fagu o ddydd Llun 26ain Gorffennaf tan ddydd Gwener 6ed Awst 2021.
Sut i ymgeisio:
Anfonwch inni ddatganiad wedi’i recordio (sain neu fideo) neu ysgrifenedig i ddweud wrthym amdanoch chi, a sut yn eich tyb chi y bydd y breswylfa fagu hon yn helpu i ddatblygu eich ymarfer erbyn 9 yb Llun 28ain Mehefin 2021.
2il Gorffennaf – Cewch eich hysbysu am y canlyniad
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
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