tag:blogger.com,1999:blog-23889154632372861062024-03-05T22:27:43.477+00:00Made By Katie GreenMade By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.comBlogger126125tag:blogger.com,1999:blog-2388915463237286106.post-83384775548275127272017-02-28T16:40:00.002+00:002017-02-28T16:40:52.209+00:00New blog and new website!<div style="background-color: white;">
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<span style="color: #666666; font-family: "verdana" , "geneva" , sans-serif;"><span style="font-size: 11px;">Please note, this is an old (archive) version of the Made By Katie Green blog. For the current version please visit <a href="http://madebykatiegreen.co.uk/blog/"><b>http://madebykatiegreen.co.uk/blog/</b></a>.</span></span></div>
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<span style="color: #666666; font-family: "verdana" , "geneva" , sans-serif;"><span style="font-size: 11px;"><br /></span></span></div>
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<span style="color: #666666; font-family: "verdana" , "geneva" , sans-serif;"><span style="font-size: 11px;">Visit our website at <a href="http://www.madebykatiegreen.co.uk/">http://www.madebykatiegreen.co.uk/</a> for more information, including about our <b><a href="http://madebykatiegreen.co.uk/performances/imagination-museum">Dancing in Museums</a></b> and <b><a href="http://madebykatiegreen.co.uk/performances/beneath-our-feet">Dancing in Caves projects</a></b>, or email <a href="mailto:katie@madebykatiegreen.co.uk">katie@madebykatiegreen.co.uk</a>.</span></span></div>
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Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-90945456979452704982016-01-25T12:13:00.001+00:002016-01-25T12:15:21.468+00:00Made By YOU commission 2016 - at the Discovery MuseumFollowing a long gap since our last <a href="http://madebykatiegreen.blogspot.co.uk/2011/08/week-1-of-made-by-you-project.html">Made By YOU project</a> with young choreographer Alexa Mason in 2011 (<a href="http://alexachoreography.weebly.com/choreography.html">see what Alexa's up to now</a>), we're thrilled to announce we are offering another opportunity for a talented young choreographer to create work that will be presented alongside a forthcoming performance of <i><a href="http://www.madebykatiegreen.co.uk/">The Imagination Museum</a>.</i><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAIHiz7gqv4FNswNqC6hEHr9ae_cnwhyphenhyphen1QXViF0mLqGLIAf1GTKYjpTNvaWMGj-frZTUybKJ9x7y0MiWezqmsQaZ1A5dymRc1Xu9Rz_diyrR4QQ1RG3L_-6oA0cvwkkUN-w2X1byF_RqT/s1600/IMG_7060.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaAIHiz7gqv4FNswNqC6hEHr9ae_cnwhyphenhyphen1QXViF0mLqGLIAf1GTKYjpTNvaWMGj-frZTUybKJ9x7y0MiWezqmsQaZ1A5dymRc1Xu9Rz_diyrR4QQ1RG3L_-6oA0cvwkkUN-w2X1byF_RqT/s1600/IMG_7060.JPG" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Katie Green and Alexa Mason working at Deda in 2011</td></tr>
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Katie will be mentoring young choreographer Megan Otty, currently studying at Dance City in Newcastle (see the work Megan Otty produced as part of <a href="http://www.yde.org.uk/programmes/youngcreatives">Youth Dance England's Young Creatives</a> 2015 <a href="https://www.youtube.com/watch?v=7bevAJd6ulw&list=PLfsOtrzqEfR4WcnlL8U9G1YvUMOvHSHKw">here</a>) to create her own response to the artefacts on display at the <a href="https://discoverymuseum.org.uk/">Discovery Museum</a>.<br />
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Her response will then be integrated within Katie's professional work <i>The Imagination Museum</i> for schools performances at the museum on the 20th May and <a href="https://www.dancecity.co.uk/performance/46298/the-imagination-museum-made-by-katie-green/">public performances on the 21st May</a>. This collaboration is part of Katie's research into new ways to work with dance into museums and to involve young people as part of that work.<br />
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More updates to follow! The Dancing in Museums project is supported by the National Lottery through Arts Council England.Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-70241562159297918412016-01-23T11:24:00.001+00:002016-02-15T11:54:40.349+00:00Made By Katie Green Audition<b>Made By Katie Green are looking for 1 male and 1 female contemporary dancer to understudy two roles from our touring production <i>The Imagination Museum</i>, and to contribute to research and development for a new production made for caves and underground spaces. </b><br />
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Created in collaboration with writer Anna Selby and composer Max Perryment, <i>The Imagination Museum</i> is a site-specific promenade piece performed in museums and heritage sites and designed for an audience of children and families. Please watch our trailer for a sense of what <i>The Imagination Museum</i> entails: <a href="http://www.madebykatiegreen.co.uk/">here</a> or <a href="https://www.youtube.com/watch?v=a948RiMOa9w&feature=youtu.be">here</a>.<br />
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We are looking to understudy the characters of Mildred (created by Jessamin Landamore-Coyne) and Henry (created by Robert Guy). The piece is adapted differently to every new museum context, so dancers will learn a range of movement repertoire and then appropriate material is selected (or new material created) for each site.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgImZBB6kCF7JfOPeTcn0Bx2EXET2vclnRwIb2Gdrta6XeJ2RwZwYVMrkwJcdA_54U519hGOdZcGuMCPNySnSZj1VCG4SNaYTbZQgajUQ5Plyqls3u8Cl88Rqu37COck6TIEp-5TU5ChCdS/s1600/_MG_9422.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgImZBB6kCF7JfOPeTcn0Bx2EXET2vclnRwIb2Gdrta6XeJ2RwZwYVMrkwJcdA_54U519hGOdZcGuMCPNySnSZj1VCG4SNaYTbZQgajUQ5Plyqls3u8Cl88Rqu37COck6TIEp-5TU5ChCdS/s320/_MG_9422.jpg" width="250" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Imagination Museum</i> at the Beaney Museum; Dancers L-R Robert Guy, Lucy Starkey, Jessamin Landamore-Coyne; Photo by Pari Naderi</td></tr>
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For more information about our new <b>Dancing in Caves project</b>, please visit our company blog <a href="http://madebykatiegreen.blogspot.co.uk/2014/07/the-dancing-in-caves-project.html">here</a>. We expect that our initial research for this piece will take place in the autumn (September/October 2016) with further development taking place in 2017.<br />
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We are seeking dancers who can be part of the Made by Katie Green team across these two different productions.<br />
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<b>Ideal candidates will:</b><br />
<ul>
<li>have strong devising skills and an interest in creating work for non-theatre contexts</li>
<li>be quick at picking up movement and adapting movement to different spaces; sometimes the structure of <i>The Imagination Museum</i> changes several times during a performance day in response to the audience, so you must be ready for this challenge</li>
<li>be experienced in contact work</li>
<li>be comfortable working with text</li>
<li>be engaging performers, with the capacity to engage younger audiences and to develop a rapport with all audience members </li>
<li>be organised, friendly and work well with current company members</li>
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<b>Key Dates:</b><br />
<ul>
<li>First audition (by invitation only): 13th March 2016 in London</li>
<li>Recall audition: 20th March 2016 in London</li>
<li>Rehearsal week: 28th March – 1st April 2016 in Surrey<i> </i></li>
<li><i>The Imagination Museum</i> performances, Discovery Museum in Newcastle: 17th – 21st May 2016</li>
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Further information on subsequent dates to be provided at the audition (it is anticipated you may be required 1 weekend in June (24th-25th tbc), for up to 6 performances in late July and August (26th-27th July; 2nd-5th, 8th-11th and 17th-18th August), and for 2-3 performances in October (including 21st-22nd October)). <br />
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These are paid positions (ITC / Equity rates).<br />
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<b>To apply: </b><br />
Please email to katie@madebykatiegreen.co.uk:<br />
<ul>
<li>your CV (2 pages max; pdf format preferred) </li>
<li>an online link to performance footage</li>
<li>a brief expression of your interest in and suitability for this opportunity (if you do not include a statement of interest, either in your main email or as an attachment, your application will be deleted) </li>
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<b>Deadline: Sunday 21st February at 5pm </b><br />
Successful applicants will be notified via email by the 6th March. We regret that we will not be able to contact unsuccessful applicants.<br />
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<i>The Dancing in Museums project is supported by the National Lottery through Arts Council England.</i>Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-43498935353807315992015-12-30T21:57:00.001+00:002015-12-30T23:00:11.976+00:00Dancing in Caves: updated thoughts January 2016Over the past months, I have been undertaking more research into my Dancing in Caves project and the creation of my new promenade performance piece for caves and underground spaces with the working title <i>Beneath Our Feet</i>. This has helped me to identify some key themes I’m interested in exploring for this work and aims for what I would like to achieve. I hope this will prepare me for starting to talk to members of my steering group in 2016 (including an archaeologist, geologist, cavers and a former quarryman), and collecting their thoughts and stories to use as source material for the piece.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAUifv2ps4eSsL2yHJcSJBhjsf_yyYng35j6ObS4zauiJKrQmmyLjidf6z0ytokHOtKHich-60o8gUDAhKXxObrw7IhugsxnaERDecXqjGbhGS_NEQBn1Ybx0r8f2sWAw1gzKoFv2B72OF/s1600/IMG_0010.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAUifv2ps4eSsL2yHJcSJBhjsf_yyYng35j6ObS4zauiJKrQmmyLjidf6z0ytokHOtKHich-60o8gUDAhKXxObrw7IhugsxnaERDecXqjGbhGS_NEQBn1Ybx0r8f2sWAw1gzKoFv2B72OF/s320/IMG_0010.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Jo Forrest; photo taken in the Robin Hood Cave at Creswell Crags</td></tr>
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In no particular order, here are some of the aims and themes I’ve identified so far:<br />
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<b>Aims for the piece </b><br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>To create an extraordinary experience for the audience. I want the movement, the characters, the stories we integrate to be intriguing.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>For the work to feel part of/reflect the atmosphere naturally occurring in the cave/underground space but also to contribute to enhancing that atmosphere; I have in mind that this will be a work about different sensations, from wonder/awe to fear and confusion.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>I also want the work to feel universal, because it will explore a very fundamental, elemental activity of returning to the earth, connecting back to our earliest ancestors who visited caves, whether that was for similar or very different reasons to us. I would like the work to feel like a new kind of old dance, integrating live music and story-telling with movement to create something imagining the ritual dances that might have happened in caves in the past (“Two hundred heel marks preserved in the soft floor 20m from the carefully staged setting of the modelled clay bison in <a href="http://www.visual-arts-cork.com/prehistoric/tuc-daudoubert-cave.htm">Le Tuc d’Audoubert </a>suggest some sort of dance took place in the cave” (<i>Ice Age art: arrival of the modern mind</i>; Jill Cook, p.25) and in keeping with the Oral tradition. At the moment I imagine the work to be more like a danced poem than a prose story.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>To embody/re-imagine a range of stories about things that have happened in or been associated with caves and underground spaces. I’m particularly interested in stories connected with human experience that are inherently dramatic and explore the themes described below.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>To integrate movement, text, music and torchlight.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>For the work to feel like a journey back in time.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>To embody the activities involved in creating the caves or underground spaces; the activity of carving a landscape out of the earth<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>To leave space within the work for the audience to experience the environment themselves and be able to make choices about how they encounter/engage with the performance and the performers.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVQT3xRVpiZKHuUrzBbOiH-YmebhH-EnEgCDjeODfmG9yi04bC0bxAOooJTASH_M5KEcfmY0EJ7R9oPQ25ma8LnIqNVN78CTAUtMG19qN1nOVKber4deb6VKxwk9GZB9xX6KPGA9JRO-0/s1600/IMG_9860.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggVQT3xRVpiZKHuUrzBbOiH-YmebhH-EnEgCDjeODfmG9yi04bC0bxAOooJTASH_M5KEcfmY0EJ7R9oPQ25ma8LnIqNVN78CTAUtMG19qN1nOVKber4deb6VKxwk9GZB9xX6KPGA9JRO-0/s320/IMG_9860.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Jo Forrest; photo taken in the Robin Hood Cave at Creswell Crags</td></tr>
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<b>Key themes/ideas/questions</b><br />
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I have already spoken to several people who have done some caving about what it is that draws them to underground exploration, and there are some recurring themes that really tie in with what I’ve been thinking about. People talk about:<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>being somewhere where so few people have been<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>the length of time that something has been untouched, unseen before they discover it<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>a ritual or spiritual experience<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>the sense of risk or danger when negotiating the difficult underground environment<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>the feeling that this experience is different to everything else<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>the sense of time-travelling<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWjCUtLGtVf9DSXI7MnwLN3laPgJhN3eeVbLED6PTFPE-jk9ulvdCt98sZgj_irYAlOhlxvHy8RLRKzd1COZizbMNakjgxddDmtE7JsWJxu5D8V7EPej-BOhJoa_X1ug3pnn_MY-9RrpT_/s1600/IMG_9990.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWjCUtLGtVf9DSXI7MnwLN3laPgJhN3eeVbLED6PTFPE-jk9ulvdCt98sZgj_irYAlOhlxvHy8RLRKzd1COZizbMNakjgxddDmtE7JsWJxu5D8V7EPej-BOhJoa_X1ug3pnn_MY-9RrpT_/s320/IMG_9990.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Jo Forrest; photo taken in the Robin Hood Cave at Creswell Crags</td></tr>
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I would like to explore/respond to/embody:<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>the act of discovery</b> – entering into an unmapped, unknown, remote, mysterious, hidden world, in which it can be tantalising to think about what could still be discovered; I would like the audience to feel that they are undertaking an act of discovery for themselves when participating in/experiencing Beneath Our Feet<br />
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<i>"No human being has gone into these depths before us, no one knows where we are going or what we are seeing, nothing so strangely beautiful has ever before been presented to us, spontaneously we all ask ourselves the same reciprocal question: Are we not dreaming?" (<a href="https://en.wikipedia.org/wiki/%C3%89douard-Alfred_Martel">Edouard-Alfred Martel</a>)</i><br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>connected to this, the <b>act of concealing</b>; a <b>conspiracy </b>perhaps<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>a <b>ritual or spiritual experience</b> – going underground to celebrate, commemorate, ask for luck, give thanks for example; or entering into <b>another world</b>, an <b>underworld</b><br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>going underground to find <b>sanctuary</b><br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>and on the other hand, <b>risk-taking or danger</b> – claustrophobia; the darkness like an enemy; or in mining, the dust you can’t see being dangerous, and the constant threat of mine collapse for example<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>time travel </b>or something about the passage of time, or being ‘out of time’ or ‘without time’ when underground; connecting back to something more fundamental, with the earth, with the past<br />
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<i>“Alone in that vastness, lit by the feeble beam of our lamps, we were seized by a strange feeling. Everything was so beautiful, so fresh, almost too much so. Time was abolished, as if the tens of thousands of years that separated us from the producers of these paintings no longer existed. It seemed as if they had just created these masterpieces. Suddenly we felt like intruders. Deeply impressed, we were weighted down by the feeling that we were not alone; the artists’ souls and spirits surrounded us. We thought we could feel their presence; we were disturbing them” (</i>The Mind in the Cave<i>; David Lewis-Williams; p.17)</i><br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>mining, quarrying, excavation</b> and also the natural activities that create the space e.g. through glacial movement or water<br />
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My initial research and development for the Dancing in Caves project will be supported by the National Lottery through Arts Council England and South East Dance in partnership with Jerwood Charitable Foundation.<br />
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Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-79926005625741685532015-11-16T00:28:00.004+00:002015-11-16T00:28:47.181+00:00Notes from Irish Museums Association 'Creative Museum' Event - 23rd October 2015I was very pleased to be invited by the <a href="http://www.irishmuseums.org/">Irish Museums Association</a> (IMA) to present my work on the <a href="http://madebykatiegreen.co.uk/museums.htm">Dancing in Museums project</a> at their 'Creative Museum' Event in Belfast on the 23rd October 2015.<br />
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I took a few notes during the day which I've tidied up a bit and am sharing here as part of my ongoing research around ways of using dance in museum contexts:<br />
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<b>Brian Crowley (Chair, IMA and Curator, Pearse Museum)</b> introduced the conference by talking about how museums might approach opportunities to work in partnerships with artists. Brian encouraged museum representatives to say yes, to try different things, to try things that they had never tried before.<br />
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<b>Dr Victoria Durrer (Lecturer, School of Creative Arts, Queen's University Belfast)</b><b> </b>talked about the<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Risk<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Trust<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Negotiation<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Challenges<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Surprises<br />
of artists and museums working together<br />
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<b>Dr Emily Mark Fitzgerald (Lecturer, School of Art History and Public Policy, </b><b>Queen's University Belfast) </b>described the way in which museum/artist collaborations might:<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>expand creative practice<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>cultivate new engagements with artefacts and historical institutions<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>transform the way in which collections are seen<br />
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She talked about the way in which engagement of audiences and visitor participation became central in museums in the 1980s and 1990s instead of a marginal concern. She described the way in which collaboration between artists and museums could produce powerful “disruptions” in museum spaces (but in a constructive way), new forms of attention and new forms of public experience.<br />
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<b>Professor Pedro Rebelo (a sound artist and composer; Director of Research, School of Creative Arts and Sonic Research Centre, Queen's University Belfast) </b>introduced his <a href="https://somdamare.wordpress.com/english-version/">Som da Maré project</a>. He particularly highlighted the participatory strategies at the core of his project and the importance of not thinking of the artist as the centre of the project. He talked about the long term commitment of the artist to build a relationship with the audience over time; he also described “horizontal [management] structures” – so everyone participates in his work at an equal level, the participants are also the owners of the work. This corresponded with the equality within the organisational structures of the museums in which Pedro was working (in Rio de Janeiro).<br />
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I was interested in hear about<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>an activity in which Pedro encouraged participants to write or draw on the ground in response to the sounds they could hear in the space around them as a way of annotating what was happening<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>the role the museum had to play in incentivising young people (aged 17/18) to carry on in education/their learning<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>the way in which Pedro’s project with the museum reached out into the ‘city’ through guided walk sound work, as well as working within the favelas in Maré – bridging communities. The concept of the museum that Pedro described was a museum without walls, extending out into the community rather than situated within one specific building.<br />
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<b>Nigel Monaghan (Keeper, National Museum of Ireland, Natural History Division) </b>introduced a great variety of artists (some of whom had engaged with museum staff, some who had not) who had responded to the Natural History collection at the National Museum of Ireland. The artists included:<br />
<a href="http://www.conorwalton.com/">Conor Walton</a><br />
<a href="http://paulgreggstudio.com/">Paul Gregg </a><br />
<a href="http://ciaran-m.tumblr.com/">Ciaran Murphy </a><br />
<a href="http://portfolio.dccoi.ie/craft-maker/eva-walsh/">Eva Walsh</a><br />
<a href="http://www.karlgrimes.net/">Karl Grimes</a><br />
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Nigel also talked about the fact that the museum was full of ‘artworks’ – artefacts that were constructed and replicated; taxidermy as an example of craftsmanship. He reminded me of the <a href="http://design.designmuseum.org/design/leopold-rudolf-blaschka">Blaschka studio: Leopold Blaschka and his son Rudolf</a> produced beautiful glass casts of underwater creatures; visualisations of creatures that couldn't be photographed and shared in the time the Blaschkas were working.<br />
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<b>Dr Hugh Maguire (Director, The Hunt Museum) </b>put forward an alternative perspective in which <a href="http://www.huntmuseum.com/">The Hunt Museum</a> (which he wanted to be seen as a ‘permeable’ space) was in fact so busy engaging with artists that he had to ensure that the core collection wasn’t getting neglected. In the later Q&A session, he also talked about visitors becoming 'blind to the collections', because they were so busy 'engaging with the space in a different way' e.g. participating in a workshop or visiting the café. However, he suggested, if even a few 'cross over' from one 'world' to another, could that be considered to be a success?<br />
<br />
He talked about negotiating the needs and expectations of artists with expectations of “traditional visitors”. He wanted the space to be permeable, but he was now in a position where he wanted to put mechanisms in place for selecting the artist responses to be presented within the museum, rather than sharing everything from everyone.<br />
<br />
I thought Hugh gave a valuable reminder that projects that are solely artist-led could become as “arcane” or “exclusive” as the more traditional museum collections the artists were seeking to interpret in a different way because they thought they were similarly arcane. He also talked about the responsibility the museum had for explaining to their visitors how the artist responses were relevant to them, which actually I think is a shared responsibility with the artists, and is one of the things I love about the ‘Dancing in Museums’ project: I find that audience members are more likely to come up to me and talk about the work in a museum than they would in a more conventional theatre performance context. As <a href="http://madebykatiegreen.blogspot.co.uk/2015/09/thoughts-from-dance-and-museums.html">Kate Coyne described at the PDSW/Bristol Museums, Galleries and Archives event</a>, the presence of the dancing body seems to make people feel that they have licence to see and interact with the space and with the dancers in a new way.<br />
<br />
After lunch, <b><a href="http://www.michellebrowne.net/">Michelle Browne</a></b> described her work with Dublin Castle (<a href="http://www.dublincastle.ie/NewsEvents/Title,31388,en.htm">These Immovable Walls: Performing Power at Dublin Castle</a>) and <b>Louise Lowe</b> (<a href="https://anuproductions.wordpress.com/">ANU Productions</a>) and <b>Lar Joye</b> talked about the remarkable <a href="http://pals-theirishatgallipoli.com/">PALS project</a> – both were really compelling case studies for artists working collaboratively with museums.<br />
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Michelle described her work curating a group of performance artists who responded to the Dublin Castle site. She talked about opportunities for participants to be allowed to hang their portrait in the building, to run along the hall, to sit in the formal chairs, to wear slippers. She also talked at length about the process of negotiation with the collaborating heritage site being an interesting part of the artistic process, and the potential challenge of the “unknown” – where she couldn’t necessarily describe to the people with whom she was working what the artists might do, because their work was unpredictable.<br />
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Michelle talked about Dublin Castle’s ‘shifting’ history, with (surprisingly) no definitive version of certain historical events that were supposed to have happened there (e.g. Margaret Thatcher’s visit) and the process of uncovering lost histories - things that happened, but with no plaques to indicate them.<br />
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Louise Lowe talked about the relationship they wanted to set up with their audiences in their PALS project. She facilitated opportunities for the audience to participate or observe (without dictating to them what they had to do) in order to encourage them to think about how they would have responded to things her characters were facing. The work wasn’t just about giving a historical account, it was also about emotional engagement:<br />
<br />
<i>“We are not interested in simply reenacting or recreating events that we think may have happened in the past, but with a desire to reimagine and remake everything that was radical and alive about the past in the present.”</i><br />
<div style="text-align: right;">
<a href="https://www.blogger.com/(http://anuproductions.ie/about/)">(http://anuproductions.ie/about/)</a></div>
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ANU Productions were in residence for 17 weeks at the National Museum of Ireland, Colllins Barracks when they were creating the PALS project, and they continue to work on-site, using the North Barracks as studios. Louise described that lots of people from the heritage world came into rehearsals to contribute to how the work was made, and the project needed a much more hands-on experience from the partner museum, it wasn't just a case of them saying ‘yes’.<br />
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Louise also said that the PALS project engaged audiences in an unprecedented way, and the company had an unsolicited response in terms of people sending their photos of the performance via social media for example.<br />
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<br />
<b>Margaret Henry (CEO of Audiences NI) </b>gave a valuable insight into museum audiences in Northern Ireland at the end of the day.<br />
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She described that a lot of the reasons around people not attending museums were because of perception, and museums perhaps not ‘singing loudly enough about what they were doing’.<br />
<br />
She gave some pointers to consider when collecting information from audiences:<br />
<br />
<ul>
<li>be clear about what exactly you need to know and why</li>
<li>check what already exists</li>
<li>identify who owns the process for your museums</li>
<li>road-test and practice with IT</li>
<li>motivation and engagement - share results, regular contact, DIY (collect information yourself so that you understand the practicalities and issues around it and can motivate the rest of the team who may be involved in collecting audience data), deal with issues promptly</li>
<li>momentum is vital</li>
<li>internal and external benefits</li>
</ul>
Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-69740634625766027382015-09-17T01:13:00.004+01:002015-09-17T10:48:09.397+01:00Thoughts from Dance and Museums discussion event (M Shed, Bristol, 15th September 2015)Yesterday I had the pleasure of being invited by <a href="http://www.pdsw.org.uk/">Pavilion Dance South West</a> and <a href="http://www.bristolmuseums.org.uk/">Bristol Museums, Galleries and Archives</a> to speak about the <a href="http://madebykatiegreen.co.uk/museums.htm">Dancing in Museums project </a>so far and some of my plans for the future.<br />
<br />
I came away really excited by the discussions I'd had and the other work that had been presented during the day. There is so much potential to continue exploring possibilities for dance work in museums, and I am very happy to be part of this conversation.<br />
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I wanted to just note down a few of the key things that struck me during yesterday's discussion. These are very early, unedited thoughts, something to refer back to in the future:<br />
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<ul>
<li><a href="http://www.pdsw.org.uk/about-us/our-team/our-staff/deryck-newland/">Deryck Newland</a>, Artistic Director of Pavilion Dance South West, started off the day by talking about the importance of dance organisations and museums having a <b>"shared purpose" </b>for their work in collaboration, rather than coming together because of a "funding imperative". The work that <a href="http://www.trinitylaban.ac.uk/schools-and-community/projects/events-and-platforms/horniman">Trinity Laban and the Horniman Museum</a> have done together is exemplary in showing what can be achieved through a longer term relationship with very clear shared goals. Emma MacFarland's report describing some of that work and the 'Dance & Museums Working Together' symposium that took place in November 2014 is <a href="http://www.trinitylaban.ac.uk/sites/default/files/dance_museums_symposium_report_final_pdf.pdf">here</a>. </li>
<li><a href="http://blog.artscouncil.org.uk/tag/john-orna-ornstein">John Orna-Ornstein</a>, Museums Director for Arts Council England, spoke about three significant things that can happen in museums: he spoke about the possibilities for <b>tackling difficult subjects</b>, for <b>remembering</b>, as well as <b>opportunities for discovery and learning new things</b></li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQHFhGNxAvh0c7SLkl5aCk9v24nufmPytcx-uzsSk6N-OJXp94EUbftfw9s8r1Sjoy3VX_TlbLaaW2dbS05o6mrmFGVtc4C8OpVR9UdsFlMMAMusSAKXRxAdcB5-k1-88KtaErZRFOnt2E/s1600/_MG_9491.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="209" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQHFhGNxAvh0c7SLkl5aCk9v24nufmPytcx-uzsSk6N-OJXp94EUbftfw9s8r1Sjoy3VX_TlbLaaW2dbS05o6mrmFGVtc4C8OpVR9UdsFlMMAMusSAKXRxAdcB5-k1-88KtaErZRFOnt2E/s320/_MG_9491.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Pari Naderi, courtesy of South East Dance; dancer Jessamin Landamore-Coyne</td></tr>
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<ul>
<li>John also referred to the <b>need for sufficient time</b> <b>to develop partnerships between choreographers/dancers and museums fully</b>, which came up at several points during the day, including when questioning how to avoid tokenism with dance work in museums</li>
<li>Following on from this, I want to know more about the possibilities for having <b>dancers-in-residence in museums, and longer programmes of collaboration, even dancers on the staff teams at museums,</b> which would help to build trust as well as influencing the quality and integrity of any choreographic outcomes.</li>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYlHQlxKEk7pu_vknykZ6o2wIB3pdMITmgsqQnbB5ArQjenSmat4B41j6dq3zmPEm2GDuh_0887ap5R-ZVScR94nHrp2gfLYRvqF-o2pybzYSFgOMMTvxy2AJB-zQqe6HtKG8eexTrXJl2/s1600/693A9565.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYlHQlxKEk7pu_vknykZ6o2wIB3pdMITmgsqQnbB5ArQjenSmat4B41j6dq3zmPEm2GDuh_0887ap5R-ZVScR94nHrp2gfLYRvqF-o2pybzYSFgOMMTvxy2AJB-zQqe6HtKG8eexTrXJl2/s320/693A9565.jpg" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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<ul>
<li>In break out discussions we talked about the potential for using museum handling collections in new ways, perhaps integrating objects within performance, certainly using them as a starting point for creative workshops (which I also mentioned in my <a href="http://madebykatiegreen.blogspot.co.uk/2015/01/4-practical-tips-for-engaging-young.html">writing for the British Museum</a>), and arts organisations hosting museum objects, as Trinity Laban did during 2014 as part of the Horniman Museum's <a href="http://www.horniman.ac.uk/about/object-in-focus-loans">Object in Focus programme</a></li>
</ul>
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<tr><td class="tr-caption" style="text-align: center;">Image from early research for the Dancing in Museums project (March 2013)</td></tr>
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<div>
<ul>
<li>Judith Robinson from <a href="http://www.plymouth.gov.uk/museums">Plymouth City Museum and Art Gallery</a> and June Gamble from <a href="http://www.plymouthdance.org.uk/">Plymouth Dance</a> spoke about their work together and a forthcoming commission that will combine a live solo and a film - this made me wonder about the possibilities for <b>dance entering the permanent collection of a museum</b> in the way in which, for example, the work of artist <a href="http://www.claretwomey.com/">Claire Twomey</a> is now part of the permanent collection in <a href="http://www.claretwomey.com/plymouth_porcelain.html">Plymouth City Museum</a>?</li>
<li>Kate Coyne talked about the new <a href="http://www.dancingmuseums.com/index.html">Siobhan Davies Dance Company Dancing Museums project</a>, and I was interested to hear that the project would not necessarily have a dance performance outcome, and was expected to culminate in a series of participatory activities rather than performances. Again I was reminded about the importance of taking time and the necessity of <b>challenging what dance in museums could look like</b>. Kate talked about it being easier, when working intensively over short periods of time, to do something that felt comfortable and safe when working in a new museum context, rather than doing something completely different. Now that I have built up a wealth of experience of working in museums through the <a href="http://madebykatiegreen.co.uk/museums.htm">Dancing in Museums project</a> so far, could I return to some of the museums with which I have established a relationship in order to explore some shared questions in new ways? Which museums, what questions and what new ways?</li>
<li>Kate also quoted dance artist <a href="http://www.siobhandavies.com/people/detail/lucy-suggate/">Lucy Suggate</a>, who said "It no longer feels appropriate to hold the audience hostage in a black box" - at least I think from memory that the quote referred to the 'audience', but I actually wrote 'dancer' in my notes, and think that it could be equally relevant. It is increasingly possible to encounter dance in an unexpected way in a range of places outside the theatre, with "dance [entering] the museums and exhibitions spaces more and more" (<a href="https://bachtrack.com/january-2014-does-dance-belong-in-museums">Katja Vaghi</a>). In the same way that dance is moving out of theatres, museums are also changing:<i>"Museums are no longer places where objects are simply displayed in cases alongside factual information for visitors / audiences to see and read. Museums are increasingly focussed on 'bringing objects to life', helping visitors to interpret and understand their wider context and significance. Dance can provide an interpretation of objects which is kinaesthetic, engages the audience's emotions and imaginations and which addresses themes in a more abstract and tangential way" (Emma MacFarland, report on '<a href="http://www.horniman.ac.uk/media/_file/report-dancemuseumssymposium.pdf">Dance and Museums Working Together Symposium</a>')</i></li>
<li><span style="text-align: justify;">As the previously clear-cut distinctions between dance and the more conventional places where dance happens, and museums and all the wonderful things they contain are increasingly broken down, hopefully there are more opportunities for exchange. Kate Coyne finished her presentation by talking about 'something about the presence of the moving body (</span><span style="text-align: justify;">in a museum or gallery context) </span><span style="text-align: justify;">that gives you licence to stop and look at things in a different way'. I was reminded of the contrast between the fluidity of movement and fixity of historical artefacts (particularly when they are contained within display cases). I was also reminded about how often audience members go back to the beginning of <i><a href="http://madebykatiegreen.co.uk/museums.htm">The Imagination Museum</a></i> tour to look again at the artefacts to which we have responded, taking their own time. </span></li>
</ul>
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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<ul>
<li>Judith Robinson spoke about working with June Gamble and Plymouth Dance as one of the ways in which the Plymouth City Museum and Art Gallery could remain visible while the building itself is closed due to the development of the new <a href="http://www.plymouth.gov.uk/historycentre">Plymouth History Centre</a>. This reminded me of the <a href="http://www.cambridge-news.co.uk/set-Curating-Cambridge-week-celebration-culture/story-23209161-detail/story.html">Curating Cambridge Festival</a> which aims to move the act of curation beyond the walls of the Cambridge Museums themselves. I suspect there might be other projects and festivals such as this one...</li>
<li>Towards the end of the day we spoke about training opportunities for practitioners (I'm using this as a collective term to refer to people who work in heritage and/or dance backgrounds, but I could also use other words like facilitator, or maybe even curator? There was some discussion about the 'curator-as-artist' during the day.) to share methods and skills that could be useful when working with dance in museum contexts. However, we discussed that there couldn't be a 'one size fits all' methodology, as everyone would have their own variations, have different motivations for working with dance in museums, would want to work with different people and would therefore produce different outcomes. </li>
<li>We also talked about the fact that the way in which a practitioner sets up a task is just as important as the task itself - so, if sharing the example tasks I give <a href="http://madebykatiegreen.blogspot.co.uk/2015/01/3-gallery-activity-suggestions-for.html">here</a> (based on my experience of working on the <a href="http://blog.britishmuseum.org/2014/11/24/exploring-objects-and-sharing-cultures-supplementary-schools-and-the-british-museum/">British Museum Exploring Objects Sharing Cultures</a> project) with other practitioners, it would be just as important to talk about the way in which I introduced the tasks as it would be to get into the practicalities of each activity. </li>
<li>This discussion led on to me thinking that it would be helpful for people working in museums to observe dancers in the studio (particularly as a precursor to a collaboration) and vice versa - I would like to test out a kind of <b>'exchange programme' for museum practitioners to come into the studio and dancers to observe what happens behind the scenes in museums</b>. Other people also spoke about this, and about the possibilities for minimising potential conflict, particularly with members of museum staff who might be wary about inviting choreographers and dancers into their spaces, by ensuring all parties were involved in the creative process from the earliest stages, therefore developing trust.</li>
</ul>
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Finally, while I was putting together this blog post I came across the <a href="http://www.borischarmatz.org/en/lire/manifesto-dancing-museum">Manifesto for a Dancing Museum </a>by Boris Charmatz, which is another very interesting read.<br />
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<br />Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-55679159226651926832015-01-11T18:41:00.002+00:002015-04-22T11:25:10.108+01:00Thoughts from 'Dance and museums working together' Symposium, hosted by Trinity Laban/the Horniman MuseumOn the 27th November 2014 I attended <a href="http://www.trinitylaban.ac.uk/">Trinity Laban</a>/the <a href="http://www.horniman.ac.uk/">Horniman Museum</a>'s Symposium entitled: '<a href="http://www.horniman.ac.uk/visit/events/symposium-dance-and-museums-working-together">Dance and museums working together</a>'. The full report from the Symposium by Emma McFarland is available online <a href="http://www.horniman.ac.uk/media/_file/report-dancemuseumssymposium.pdf">here</a>, but I have also jotted down some of the notes I made during the day. I have not edited these notes, they are in no particular order, and they are necessarily partial as I was only able to attend some of the discussion sessions on the day.<br />
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<b>Notes from ‘Dance and museums working together’ Symposium: Horniman Museum/Trinity Laban, 27th November 2014</b><br />
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<b>Joyce Wilson (London Area Director for Arts Council England)</b><br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Importance of cross-sector working<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Arts and culture are at the core of what it means to be human<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Delving into the practices of different disciplines can bring new things to light<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Now (facing more cuts to arts funding) is the time when we need to share resources<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Joyce sign-posted the new Arts Council <a href="http://www.artscouncil.org.uk/what-we-do/value-arts-and-culture/state-arts/create/"><i>Create</i> journal</a><br />
<br />
<b>Dr Bettina Zorn (<a href="http://www.weltmuseumwien.at/en/">Weltmuseum, Vienna</a>)</b><br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>in a museum, “the living part of the object is missing” and dance enables us to access or re-imagine that missing part<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Dr Zorn spoke of collaboration with <a href="http://www.impulstanz.com/en/">Impulstanz</a> including a 2 week ‘Occupy the Museum’ workshop, and live performances/exhibitions, which were often durational<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Dr Zorn talked about different people working in museums viewing dance performance work in different ways, asking:<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>How do museum curators experience work?<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>How do dancers experience work?<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>How to people outside the museum and dance sectors experience work?<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>What do different people take away from their experience?<br />
She suggested that there is not always an easy dialogue between the different departments.<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Dr Zorn spoke of the value of being able to use ‘lost objects’ as part of dance performance (objects that are not often on display), and of using empty spaces in museums<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>She also spoke about one project in which an established choreographer created a response to a particular museum artefact or collection, and then a group of young people were invited to create their own responses to the work of that choreographer, thereby creating a chain of interpretation and discussion.<br />
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<b>Kate Coyne and Alison Proctor from <a href="http://www.siobhandavies.com/">Siobhan Davies Dance</a></b><br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Kate and Alison spoke about examples of the company’s work in which choreographers/visual artists have been invited to come together to respond to similar starting points<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>They also (like Dr Zorn) mentioned the value of opportunities to bring out artefacts which don’t get examined very often in galleries and museums<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>They discussed Siobhan Davies’ work <i><a href="http://www.siobhandavies.com/work/table-contents/">Table of Contents</a></i> as a ‘collection’ of movement pieces, like a gallery or museum collection, in which the human body is the artefact, and audiences are engaged in a conversation with that artefact<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Kate and Alison described the value of durational work, enabling interaction with audiences over a period of time: in order for this to happen, the gallery/museum with whom the company are working have to be very open to the work happening, and this kind of collaboration requires the gallery/museum’s generosity in allowing a performance to exist in an exhibition space for a longer period<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Sometimes there has to be a long introductory conversation before a collaboration between the company and a gallery begins, and often that takes place through the Events Programming Team rather than the Curatorial Team (although that is changing)<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>There are different things to consider when the suggestion to collaborate comes from a museum/comes from an artist, and the two parties have to hear and respect each other’s perspectives<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Kate and Alison talked about trying to be clear with the audience about the way in which the dance work related to the work on display around it, and how much the artist needed to lead on this<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>In a gallery/museum there are opportunities for the audience/visitor to be close to the dance work, and there are lots of different perspectives from which they can watch<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>They spoke about Siobhan Davies’ collaboration with <a href="http://www.claretwomey.com/profile.html">Clare Twomey</a>, and the movement in Clare’s live visual art response: <i><a href="http://www.siobhandavies.com/work/component/it-madness-it-beauty-clare-twomey/">Is it madness. Is it beauty. </a></i><br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Kate and Alison also spoke about:<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>the element of surprise when working with dance in gallery (non-conventional performance) spaces<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>the intervention can make people stay longer in the museum<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>asking the audience to appreciate the body as a living artwork/artefact<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>the care that Curators will take about having that body in the space, and concerns they may have about how to look after the body-as-artefact<br />
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<b>Horniman Museum (Georgina Pope) /Trinity Laban (Veronica Jobbins), speaking about the <a href="https://www.youtube.com/watch?v=AgbXtylYGus">Curious Tea Party Event</a> that took place in July 2014 </b>(<a href="https://www.youtube.com/watch?v=AgbXtylYGus">https://www.youtube.com/watch?v=AgbXtylYGus</a>; we’re featured in this video from 3.09 with extracts from <i><a href="http://madebykatiegreen.co.uk/museums.htm">The Imagination Museum</a></i>)<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>The Horniman Museum/Trinity Laban will be publishing a full Symposium Report and also sharing their evaluation of the Curious Tea Party Event in due course<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>I was particularly interested to hear about how the project brought together youth panels from both the Horniman Museum and Trinity Laban to curate work (as part of their Arts Award work)<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>The event created connections between inside and outside spaces around the Horniman Museum and Gardens<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>The Horniman Museum sent some of their artefacts to Trinity Laban ahead of the Curious Tea Party event, and these inspired a range of off-shoot projects in different spaces<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>The success of the Curious Tea Party event relied on close partnership between the two venues at all levels of the organisation, and a clear mutual understanding of the ethos/aims of both organisations at all levels<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Developing funding bids in partnership took much longer than it would have if the applications had been made individually, and needed a longer lead-in time than an individual application<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Importantly, the two organisations monitored the outcomes for audience members e.g. asking whether they had attended the Horniman Museum before; asking for information about whether audiences would think about engaging with dance experiences again in the future (this information will be available when they share their full evaluation). This kind of evaluation is easier when given the opportunity to work collaboratively/share work/build audiences over time, rather than as part of a one-off performance experience.<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>The organisations worked together to co-commission artists<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Artists responded primarily to the museum as a site-specific location, the museum as a stimulus for artistic work, or the museum artefacts as a stimulus for artistic work<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>The Horniman Museum/Trinity Laban didn’t want to differentiate between performance/participation, and integrated both throughout the Curious Tea Party event<br />
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<b>Some thoughts from panel discussions later in the day:</b><br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>There was much discussion about audience choice in relation to dance performance in museums, and ways to take this into consideration: we talked about the fact that when you feel physically closer to a performance as an audience member, you may feel like you are more ‘on show’ and may therefore also feel less likely to behave as you wish. We talked about acknowledging this in the rehearsal process, considering the audience’s potential ‘discomfort’ (although of course this won’t be the same for everyone, and audience members always have the choice to engage or not engage with something, no matter what the choreographic intention). How can we encourage audiences to do something different – i.e. not sitting down passively in front of a performance?<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>If there are challenges to bringing dance into museums, why are we increasingly working in this context?<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>Museums are more interactive spaces, and allow a different way of engaging with the audience<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>Working with dance in museums creates access to new audiences<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>They also allow a new method of interpretation<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>It is a human instinct to make sense of the world around us, and we can do this in museums<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>Bringing dance into museums can be an entry point to talking more about difficult subjects (although again it was suggested that we have to be mindful about what the audience might be feeling, and have empathy)<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>Work with dance in museums can have lasting impact on audience members<br />
-<span class="Apple-tab-span" style="white-space: pre;"> </span>Working with dance in museums is often about <i>new </i>things – breaking from the norm, thinking differently, working in a new way, offering alternatives, offering non-verbal responses to artefacts<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>How can we use the movement of visitors around a museum as a choreographic stimulus?<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>How can we use the increase in dancing in museums as an opportunity to analyse, critique the process of dance-making, an opportunity for dance to engage with its own history?<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Are audiences getting used to <i>seeing </i>rather than <i>experiencing </i>dance work?<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Is there an obligation on the part of the museum/heritage site to re-introduce movement into places where movement used to take place?<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>Martin Joyce from <a href="http://www.britishmuseum.org/whats_on/museum_of_the_future/icon_dance.aspx">Icon Dance</a> spoke about not advertising their performances at the British Museum in advance, and putting in place a social media campaign to encourage audience members to also engage with the performances through photographing/filming on their phones.<br />
•<span class="Apple-tab-span" style="white-space: pre;"> </span>It is important to work with Front of House staff as a fantastic resource for learning more how audiences are engaging with dance work in museums.<br />
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Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-46945866028889682362015-01-08T15:31:00.002+00:002015-01-08T15:31:25.062+00:00 4. Practical tips for engaging young people with dance within a museum context•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Work with handling collections: </b>there was an excellent handling collection at the British Museum, and at most of the other museums with which I have worked to date (which include replicas and real items). These can sometimes be taken away from museums in Loan Boxes, often for a relatively small hire charge, so they can be used as inspiration for dance workshops in schools where those schools are not able to work on-site at their local museum for whatever reason.<br />
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Being able to handle items reintroduces the tactile into an environment that young people can often associate with not getting too close and not touching, and that’s why this handling activity can be so useful in setting the tone for a project aimed at engaging with museum collections in a new way.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Allow time for the young people to familiarise themselves with a particular gallery/series of galleries </b>that will be the focus for the project: for the British Museum ‘Exploring Objects and Sharing Cultures’ project, we spent the full first day doing this, and again it set the tone for the project and excited the young people about what was possible in that space.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Write things down and come back to them</b>, especially if working over a longer period of time (or document in other ways e.g. film, photography, as long as you have obtained the necessary permission of course). It’s a useful resource to come back to as ideas develop, or to use when reflecting about the work at the end of the project. This documentation is even more effective if the young people are involved in it, or take charge of it altogether.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Skills/information-sharing are important when setting up dance activities in museums, particularly when working with individuals that don’t have a great deal of movement experience. It is useful to have an alternative workshop space you can use to try things out away from the gallery. </b>You can use this alternative space to be able to warm up thoroughly, and it’s a place where the young people can test things they aren’t confident about, where they won’t be watched by the members of the public passing through the galleries. It is also a place to talk about shared expectations for behaviour before moving into the gallery space, and to prepare the young people for what to expect when the general public is sharing the same space as them. I usually introduce an attention signal as well so that the young people know what to listen out for when they’re spread out around the space and I need to get their attention.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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I always emphasise what a privilege it is to have the opportunity to move in the museum space in a different way, but I have found that generally young people realise that anyway and are very respectful.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Work closely with museum staff to understand the potential challenges of a space</b> e.g. times when tours might be happening, areas that are out of bounds, any display cases with particularly sensitive alarms<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Also, <b>work closely with museum staff to understand the great benefits of working in a particular space</b>, and create opportunities for them to share their knowledge of both challenges and benefits with the young people involved in a project, so the participants feel included and understand what happens behind the scenes at the museum.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>As well as preparing the young people for how to behave when sharing the space with the general public, prepare the group leaders to be able to interact with the general public appropriately </b>e.g. make sure there are enough members of staff/support staff for the number of participants; perhaps consider making flyers to hand out with information about the project<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>Most importantly, having outlined all of the potential challenges and mutual expectations for a project with a group of young people, <b>find the most creative way of working in a space</b> bearing in mind all of the limitations given, so they don’t feel like limitations, but opportunities.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-16854933687348840542015-01-08T15:31:00.001+00:002015-01-08T15:33:51.975+00:003. Gallery Activity suggestions for encouraging dance, including specific objects and/or themes that were interesting for your groupThe following ideas are based primarily on the ‘<a href="http://blog.britishmuseum.org/2014/11/24/exploring-objects-and-sharing-cultures-supplementary-schools-and-the-british-museum/">Exploring Objects and Sharing Cultures project</a>’ that I delivered with the British Museum in response to the Roman galleries (particularly Room 70) and particular artefacts associated with Cleopatra, Julius Caesar and Mark Anthony, but there are of course many more possibilities. In this instance the group were particularly interested in the busts/statues displayed throughout the gallery, as well as the smaller objects such as coins, and more personal items such as pieces of jewellery.<br />
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The object-handling activities described in the <a href="http://madebykatiegreen.blogspot.co.uk/2015/01/2-what-have-you-learned-from-your.html">previous post</a> served as a great introduction to looking at our selected artefacts in more detail and building up a fuller picture of the time the objects came from and the broader context: after our first examination of those artefacts, guided by a member of museum staff (but never only restricted to the facts or what we could certainly know), we began collecting historical themes, characters, relationships and key events that provided starting points for our creative dance activity. We used these to set up tasks:<br />
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<b>•<span class="Apple-tab-span" style="white-space: pre;"> </span>Responding to the form of the object, and embodying the idea of that object coming to life e.g.</b><br />
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Prior to going into the museum gallery, we spent some time in a studio space doing warm-up activities to prepare the young people for working in contact with each other, during which we introduced example movement vocabulary they could use and spoke about mutual trust.<br />
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When we first went into the gallery, we then gave the young people some time with a partner to select a sculpture/bust to which they wanted to respond, and asked them to draw/write down ideas about who they thought this person was and what they were like (responding particularly to their facial expression and body language).<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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Using these ideas, we then asked the young people to take on roles within their pairs: one in the ‘sculptor’ role, and the other as ‘the sculpture’, or the clay ready to be moulded into shape. We asked the ‘sculptor’ to rebuild their selected statue/bust by manipulating their partner into a static position at first, and then as a development activity the dancers started to bring these re-imagined sculptures to life, moving with them and in some cases building more of a story for those characters e.g. developing the relationship between the two partners in response to the relationships we had identified between Cleopatra, Julius Caesar and Mark Anthony.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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During this activity we noticed that the young people really liked a mystery, and particularly enjoyed responding to incomplete or damaged artefacts; they saw the fact that they were broken as an important part of their story, and of the way in which they interpreted their character.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo by Benedict Johnson, courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Responding to the quality of the object or what the object represented</b><br />
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The young people with whom I worked on this project responded particularly to the theme of power in the Roman Empire, and we spent time exploring how we could embody this particular theme e.g. deciding how power might feel in our bodies, and therefore how it might make us move and what the rhythm of that movement might be. We used all this information (through improvisation) to generate movement vocabulary consisting of sharp strong movements with all parts of the body, and shared this in small/large groups so that we could use it to create overall images e.g. two opposing armies performing their ‘power’ movement towards and around each other, like they were marking their territory.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Connecting our interpretation of each object with our understanding of the world now</b><br />
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The young people really connected with the idea of loyalty in this project (between Mark Anthony and Julius Caesar for example), and we used this as an initiation for an activity in which we collected a series of ways in which we could physically support each other, building structures in groups of 3-5.<br />
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They also engaged with the idea of status, hierarchy and competition between political opponents, and we talked about ways in which the participants observed this competitive impulse in modern politics as well, using this image to set up a movement task in which a group of four dancers travelled across the space as if in a race, trying to get one step ahead of each other and to leave the others behind them. Their movement became more inventive as the idea became clearer to them.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>Responding to the place where the artefact was located within the museum</b><br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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We looked at where our stimulus artefacts were situated in the museum, and designed a procession of movement to begin our final performance that began with the dancers starting in small groups amongst the artefacts that had inspired them (so they could be seen to be ‘coming to life’), and then moved along the aisle down the centre of the gallery, the main thoroughfare for movement through the space. The dancers were in groups of only two or three people, so this movement wasn’t disruptive and members of the public could move around them, but we found that most members of the public felt compelled to stand aside as the dancers travelled past them, which created quite a spectacle and coincided nicely with what we had discussed about Cleopatra’s great processions.<br />
<br />Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-66800411006726196542015-01-08T15:31:00.000+00:002015-01-08T15:31:11.344+00:002. What have you learned from your experience of working with The British Museum/Talking Objects Collective project? How might this learning change the way you work with young people?<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Photo by Benedict Johnson; courtesy of the British Museum</td></tr>
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I have learnt some fantastic introductory/ice-breaker ideas for working with museum objects from the British Museum staff that I will be able to feed into my delivery of dance work in museums in the future, and this just goes to show how much can be gained from artists working collaboratively with museum experts, and engaging young people in that exchange of skills and ideas. For example:<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>a ‘mystery object’ game in which young people had time to handle and talk about an usual artefact before guessing what they thought it was and then imagining who they could be in the life of the object e.g. the person who made it/who excavated it/who looks after it in the museum. We also asked the participants to come up with a physical embodiment that could represent their imagined relationship with the object.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>an activity in which two people sit back to back, one of whom is given a piece of paper and a pen, the other an artefact. The person with the artefact has to describe the object for the person who can’t see it, and they have to draw their impression of the object from the description alone. It encourages young people to look at objects very closely and I found the task incredibly challenging when working with my partner!<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>in one session small groups of young people were given three or four museum artefacts and asked to create a story connecting those objects, which encouraged them not only to think about what those objects were, but also to think imaginatively about what they could represent, and to begin thinking about how to use them to make an exciting story. It was then a very easy step to go from here to asking the participants to bring their story to life through movement.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo by Benedict Johnson; courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>in another, museum objects were placed around the room, and each participant was given a series of descriptive words printed on small pieces of paper, and asked to allocate those words to appropriate objects. It was really interesting to see where people interpreted objects in the same way, allocating the same word as someone else, and where some more unusual artefacts had a greater range of responses. It reminded us of the very different ways in which we can see the world.<br />
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As well as these tips for practical activities, during my time with the British Museum I also observed:<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>the extent to which the participants were at their most focussed when handling artefacts, and when working in the museums galleries themselves rather than in a studio. I might have expected this to be the other way round, as there are many more distractions in the galleries, but the majority of the young people intuitively seemed to understand and respond to the fact that there was something special about this environment that required their full attention.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo by Benedict Johnson; courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>that the young people produced their best material when they are playing/improvising. Even though the project I worked on with the British Museum led to a performance, and therefore involved the ‘setting’ of some material, I was reminded that the process, and setting up opportunities for the young people to explore their own ideas in their own way, was incredibly important.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo by Benedict Johnson; courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span>In our closing circle at the end of the project, when we asked the participants to reflect on the project as a whole, I was struck by how many of them talked about the extent to which their confidence had grown. Again, this just served to emphasise the importance not only of the themes, ideas and creative content of a session, but also everything about the way in which it was managed that could contribute to young people feeling empowered and therefore free to create.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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<br />Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-67490688243587012392015-01-08T15:30:00.003+00:002015-04-22T21:38:08.153+01:001. How do you think dance can help young people to make sense of objects/enjoy and engage with collections?I have been working specifically with dance in museums and heritage sites for nearly two years now, and one thing I can certainly say about working in this environment is that there is always more to discover: museums are such a rich source for creative dance activity.<br />
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However, what I have learnt during those two years, and throughout my work as a professional dance artist and choreographer more generally, is that dance has the capacity, if introduced in an appropriate way, to engage all individuals, regardless of ability or previous experience.<br />
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<i>“There are some people in the group who I wouldn’t have believed could do that.” (Teacher feedback from a <a href="http://www.madebykatiegreen.co.uk/museums.htm">Dancing in Museums </a>workshop)</i></blockquote>
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson; courtesy of the British Museum</td></tr>
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In many instances when I work with dance with young people in museums, I can see a greater transformation in a shorter space of time than I might in another context. Many young people go from being disengaged, not knowing what to expect or lacking in confidence to really enjoying themselves, and in the past, the young people with whom I’ve worked have also been also able to reflect on that change, including one participant who wrote this feedback for me: “I enjoyed when we did the warrior dance and I thought I wouldn't enjoy it but I did. Thank you very much”.<br />
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Of course, every individual will take something different away from every experience, but I think dance can have such an impact when working creatively in museums because, for example:<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>it takes young people out of their usual learning environment and into a different space</b>, a space which is in itself a place of enquiry, curiosity, reflection and interpretation; a place where, if given the encouragement and the tools to do so, they can ask their own questions without the same sense of ‘right’ or ‘wrong’ they might experience in other contexts and start to find some answers.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>in the museum environment there is so much cross-over between different facets of life and ways of responding to the world;</b> young people are able to engage with objects in their fullest sense – scientific, historical, geographic, literal, poetic, mathematical, technological and so on. So even if a young person may not ordinarily engage with dance/physical activity, or, on the other hand, maybe they don’t usually engage with history for example, something about bringing two or more elements together makes it more likely that every individual will be able to take something away from the experience. I always maximise this opportunity for working in an interdisciplinary way by introducing lots of other activities alongside the dancing in my workshops – drawing, writing, acting, measuring, discussing, photographing, filming for example.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson; courtesy of the British Museum</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson, courtesy of the British Museum</td></tr>
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>dance can be a great tool for interpreting artefacts, and a way in to helping young people to tell stories and make sense of the world around them.</b><br />
Artefacts in museums, especially those which are incomplete, can only tell a part of a story. If we want to tell the whole story, we have to fill in the gaps in understanding, and we can do this by using the facts we do have to make educated guesses, or by reimagining our own version of events.<br />
Neil MacGregor writes about this in his <i><a href="http://www.bbc.co.uk/ahistoryoftheworld/">A History of the World in 100 Objects</a></i>:<br />
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<i>“Thinking about the past or about a distant world through things is always about poetic recreation. We acknowledge the limits of what we can know with certainty, and must then try to find a different way of knowing, aware that objects must have been made by people essentially like us – so we should be able to puzzle out why they might have made them and what they were for”</i></blockquote>
This interpretative act is an ideal scenario for initiating creative movement exploration: we take a starting point or a series of starting points, we look at them from a range of different perspectives to try to find the themes, connections, points of interest, and begin piecing together a bigger picture using movement that may be a combination of more literal representation and completely new invention.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>dance provides individuals with a way of connecting specifically with the personal story of the object. </b>Conservation issues mean that is most often necessary for museums to present artefacts in a formal way, behind glass, but because of this it can be difficult for young people to access the idea that in its time, the artefact may have belonged to an individual e.g. it might have had great personal significance to that person, or it may be that they threw it away (for countless possible reasons). Dance, and in fact any interpretative act/creative activity, can help us to get back to that personal connection. I went to the recent <a href="http://www.horniman.ac.uk/visit/events/symposium-dance-and-museums-working-together">'Dance and museums working together' symposium (Trinity Laban/Horniman Museum)</a> at which Dr Bettina Zorn from the <a href="http://www.weltmuseumwien.at/en/">Weltmuseum</a> in Vienna said that in a museum, “the living part of the object is missing” and dance enables us to access or re-imagine that missing part, and by experiencing it physically, to be able to grasp it more fully. I often encourage the young people with whom I work to think of the artefact as a portal through which they can time-travel to another period in history. It can also provide a way in to talking about that individual’s place within the history of an area that’s important to them, their family, within the world, or in the future for example.<br />
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<i>“Amazing, really amazing – fantastic for the children, brought their personalities out and allowed them to be who they are.” (Teacher feedback from a Dancing in Museums workshop)</i></blockquote>
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<i>“Dance can embrace multiple narratives around an object, encouraging visitors to think about the object in a more complex way. The dancer can become a living embodiment of the object. When presented well, the contrast between the impermanence of a human body dancing and the static, enduring nature of an object is a compelling one. It also offers a space in a museum for human interaction, where visitors can feel more free, challenging some of the older ‘codes’ of museum etiquette. While this can present its own challenges, it may encourage new and more diverse visitors to museums and encourage existing visitors to be less passive in their engagement – to experience the Museum as ‘alive’. It also helps to meet the growing demand for more immersive, interactive work which engages people with a wide range of learning styles.” (Emma MacFarland, report on ‘<a href="http://www.horniman.ac.uk/media/_file/report-dancemuseumssymposium.pdf">Dance and museums learning together’ symposium</a>)</i></blockquote>
•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>both artefacts and the dances they inspire can be non-verbal</b>, and I have found this to be particularly significant when working with young people who have a range of needs that mean they find verbal communication challenging.<br />
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•<span class="Apple-tab-span" style="white-space: pre;"> </span><b>as well as using dance to respond to artefacts, it can also be a tool for interpreting the museum space itself and to draw on (or contradict) the behaviours that might usually happen there. </b>Dance can be used to interact with the museum space in a different way e.g. going under, behind, around things, watching through glass, going behind the scenes. I have found that young people really enjoy using something they wouldn’t ordinarily be able to access as a creative stimulus (i.e. an object or a space in the museum that is usually out of bounds), and they can also enjoy responding to objects that are permanently on display but may be overlooked (in the British Museum, for example, the collection is so vast that it can be very difficult to take it all in, meaning some things may be undiscovered until given time for closer inspection). What is important is that, even for a limited period of time, the museum ‘belongs’ to those young people given permission to interact with it in a different way (which feels all the more exciting and special because they aren’t ordinarily allowed to do it), and a lot of feedback I receive relates to this:<br />
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<i>“I loved the fact that we were allowed to dance in a museum.”</i><i>“I loved making our mystical world. Thank you!” </i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaOhXnBQ3wVX8Qvy-Rwkc24BxwWTUmQ2VRmeW3wLL-t8SqDooStLl1E5sDATL_ysQs7jyef946jX-OKCzqZcLcbeMLKhro6VFqce514QmHqc8VDnRlbMjWqS413mCNV3_bjrowUmesnepj/s1600/693A2945.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaOhXnBQ3wVX8Qvy-Rwkc24BxwWTUmQ2VRmeW3wLL-t8SqDooStLl1E5sDATL_ysQs7jyef946jX-OKCzqZcLcbeMLKhro6VFqce514QmHqc8VDnRlbMjWqS413mCNV3_bjrowUmesnepj/s1600/693A2945.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Benedict Johnson; courtesy of the British Museum</td></tr>
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Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-92180895973022504402015-01-08T15:30:00.002+00:002015-01-08T15:33:19.629+00:00Working with dance in museum learningFrom September-November 2014, I collaborated with the supplementary schools team at the <a href="http://www.britishmuseum.org/">British Museum</a> as part of the <a href="http://blog.britishmuseum.org/2014/11/24/exploring-objects-and-sharing-cultures-supplementary-schools-and-the-british-museum/">Exploring Objects and Sharing Cultures Project</a>, working with 20 dancers from the EC Lighthouse Lithuanian Supplementary School to create a piece responding to artefacts in the museum's Roman galleries.<br />
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<tr><td class="tr-caption" style="text-align: center;">Photo by Benedict Johnson, courtesy of the British Museum</td></tr>
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On completion of the project, I was invited by the British Museum to write some thoughts in response to 4 questions. A shorter version of my answers will be used as part of a new Talking Objects Online Creative Resource to be published later in the year, but I also wanted to make my full responses available in the following 4 blog posts:<br />
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1. <a href="http://madebykatiegreen.blogspot.co.uk/2015/01/1-how-do-you-think-dance-can-help-young.html">How do you think dance can help young people to make sense of objects/enjoy and engage with collections?</a><br />
2. <a href="http://madebykatiegreen.blogspot.co.uk/2015/01/2-what-have-you-learned-from-your.html">What have you learned from your experience of working with The British Museum/Talking Objects Collective project? How might this learning change the way you work with young people?</a><br />
3. <a href="http://madebykatiegreen.blogspot.co.uk/2015/01/3-gallery-activity-suggestions-for.html">Gallery Activity suggestions for encouraging dance, including specific objects and/or themes that were interesting for your group</a><br />
4. <a href="http://madebykatiegreen.blogspot.co.uk/2015/01/4-practical-tips-for-engaging-young.html">Practical tips for engaging young people with dance within a museum context</a>Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-10055155498636296202014-10-22T00:07:00.000+01:002014-11-28T22:59:34.655+00:00Research and development opportunity for new community operaSurrey Arts have commissioned a community opera called <i>The Freedom Game</i> to be performed at The Royal Albert Hall on Tuesday 12th May 2015 to celebrate the 800th anniversary of the signing of the Magna Carta in Surrey.<br />
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<i>The Freedom Game</i> has been composed by Hannah Conway and written by Sir Richard Stilgoe, It will be directed by Karen Gillingham and choreographed by Katie Green (<a href="http://www.madebykatiegreen.co.uk/">Made By Katie Green</a>) with Hannah Batley. There will be a choir of 1000 primary school children and some additional groups, a semi professional choir of approximately 20 and a professional cast of 4. The orchestra will be made up of the Surrey Youth Orchestra, Wind and Brass Ensembles. There will then be a stage company of 150-200 and a dance company of 50-75.<br />
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Katie Green would like to invite you to join her and Hannah to help them to explore themes related to the Magna Carta and start to develop a movement language for the opera. <br />
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<b>Dates and times: </b><br />
Mon 27th October - 10-1pm<br />
Thursday 13th November - 10-4pm<br />
Thursday 11th December - 10-4pm<br />
<b>Place:</b> Surrey Arts at Westfield Primary School in Woking, Bonsey Lane, Woking, Surrey GU22 9PR<br />
(contact katie@madebykatiegreen.co.uk for more information about getting to the venue)<br />
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Please note, this is an R&D opportunity only, as the dance company for <i>The Freedom Game</i> will be composed of children and young people from schools in Surrey. Come along if you would like the opportunity to participate in a creative process, meet with other artists, and get to know Katie Green and Hannah Batley (Made By Katie Green will be auditioning for new dancers in 2015). You do not need to attend all 3 of the sessions.<br />
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Contact Katie Green on katie@madebykatiegreen.co.uk if you would like to attend some or all of these R&D sessions.<br />
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Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-7435404971086707142014-08-28T22:53:00.000+01:002014-08-28T22:53:10.281+01:00Photos from performances at the Beaney House of Art and Knowledge: 12th July 2014Pari Naderi took some beautiful shots of our performances of <i>The Imagination Museum </i>at the Beaney House of Art and Knowledge (part of Kent Dancing 2014), and I wanted to share them with you here rather than waiting for an opportunity to add them to the website.<br />
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Thank you to Pari and to South East Dance for allowing me to share these images. <br />
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<i>The Imagination Museum </i>at Kent Dancing 2014. Made By Katie Green. All images © Pari Naderi and courtesy of South East Dance. Dancers Robert Guy, Jessamin Landamore Coyne and Lucy Starkey.Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-14986872443403024652014-08-27T19:47:00.000+01:002014-08-27T19:48:32.673+01:00First Dancing in Caves images: on-site in the Robin Hood Cave, Creswell Crags<div class="separator" style="clear: both; text-align: left;">
Photographs from rehearsal at Creswell Crags © Jo Forrest
2014 All rights reserved; Dancers Robert Guy, Jessamin Landamore Coyne
and Lucy Starkey </div>
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<br />Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-31693207415904261372014-08-27T19:42:00.001+01:002014-08-27T19:48:51.770+01:00Photos from rehearsals for The Imagination Museum at Creswell CragsPhotographer <a href="http://www.joforrestphotographer.com/" target="_blank">Jo Forrest</a> very kindly came along to take some shots during our rehearsals for our last <a href="http://www.madebykatiegreen.co.uk/museums.htm" target="_blank">Dancing in Museums</a> performances of the summer at <a href="http://www.creswell-crags.org.uk/" target="_blank">Creswell Crags</a>.
Some of these images captured the peculiar antics of characters
Mildred, Henry and Harriet (Jessamin Landamore Coyne, Robert Guy and
Lucy Starkey) as they moved around the beautiful site at Creswell Crags.
Some, which I'll put in <a href="http://madebykatiegreen.blogspot.co.uk/2014/08/first-dancing-in-caves-images-on-site.html">my next blog post</a>, document some of our early
research for our <a href="http://madebykatiegreen.blogspot.co.uk/2014/07/the-dancing-in-caves-project.html" target="_blank">Dancing in Caves</a> project.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QVFdumG6IcqwnBWAHVEcKa08ebg88A8oJWyMHp25CYbyUU251e5HC_PJOU6hHyFnJeiz3Gw6cdswSf0EHbWUxQgldAkoeTFo2jnH6xmuOSPFfZXRRmOfdvxMu9Vb4NkIrLqhP1_Q8AEx/s1600/IMG_9980.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-QVFdumG6IcqwnBWAHVEcKa08ebg88A8oJWyMHp25CYbyUU251e5HC_PJOU6hHyFnJeiz3Gw6cdswSf0EHbWUxQgldAkoeTFo2jnH6xmuOSPFfZXRRmOfdvxMu9Vb4NkIrLqhP1_Q8AEx/s1600/IMG_9980.jpg" height="206" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photographs from rehearsal at Creswell Crags © Jo Forrest
2014 All rights reserved; Dancers Robert Guy, Jessamin Landamore Coyne
and Lucy Starkey</td></tr>
</tbody></table>
<br />Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-43921042125941845192014-07-23T21:06:00.003+01:002015-04-22T11:22:32.303+01:00Dancing in caves: first thoughts, July 2014After 2 very exciting days preparing for our performances of <i><a href="http://www.madebykatiegreen.co.uk/museums.htm">The Imagination Museum</a> </i>at <a href="http://www.creswell-crags.org.uk/">Creswell Crags</a> on <b><a href="http://www.creswell-crags.org.uk/Whats-On/Events/2014/7/the_imagination_museum">Sunday 27th July</a> (performances at 12, 2 and 3.30pm with workshops after the first and second performances)</b>, I have also had a meeting with Dr David Strange-Walker from <a href="http://www.tparchaeology.co.uk/">Trent & Peak Archaelogy</a> today to talk about the Nottingham Caves, and the potential for future performances as part of the 'Dancing in Caves' project.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMxfBnGymATz4yOiBkRZG8vHbGDuobtzQEJ7SpHdU7Afpo4kRFeIDfVOoivHha8iHba5WMRAskla4gl7Hdn3Xl9azQXEWmPZIkU43GVl2TbTC2DCFk677v4tHaDL1DpLkpL46GnBmbNxoi/s1600/JoForrestCreswell.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMxfBnGymATz4yOiBkRZG8vHbGDuobtzQEJ7SpHdU7Afpo4kRFeIDfVOoivHha8iHba5WMRAskla4gl7Hdn3Xl9azQXEWmPZIkU43GVl2TbTC2DCFk677v4tHaDL1DpLkpL46GnBmbNxoi/s1600/JoForrestCreswell.jpg" height="266" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span class="fbPhotosPhotoCaption" id="fbPhotoSnowliftCaption" tabindex="0"><span class="hasCaption"><i>The Imagination Museum </i>rehearsals at Creswell Crags © Jo Forrest 2014 All rights reserved</span></span><span class="fbPhotoTagList" id="fbPhotoSnowliftTagList"><span class="fcg"></span></span></td></tr>
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The <a href="http://www.nottinghamcavessurvey.org.uk/index.htm">Nottingham Cave Survey</a>, which is managed by Dr Strange-Walker, is absolutely fascinating, documenting many of the approximately 500 man-made caves cut into the natural sandstone upon which Nottingham sits. David was able to share with me some of his wonderful three-dimensional images of these caves, all available on the <a href="http://www.nottinghamcavessurvey.org.uk/index.htm">Cave Survey</a> website, including this video documenting the vast Peel Street Caves, one of Nottingham's largest cave systems: <a href="http://www.nottingham.ac.uk/tpa/caves/m/mc9/movies.htm">http://www.nottingham.ac.uk/tpa/caves/m/mc9/movies.htm</a>. <br />
<br />
At Creswell, we have already learnt a great deal about the opportunities and challenges offered by dancing in the cave environment, including:<br />
<ul>
<li>the potential for choreographing light in an environment which is pitch black, without electricity. We're working with torches and head-lamps at the moment (setting them in crevices of the rock or moving with them) but have started thinking about other light sources too, as well as the possibility of asking the audience to switch their head-lamps <i>off</i> at times so they can appreciate the unique atmosphere within the cave in total darkness.</li>
<li>the transformation that naturally takes place when moving from the outside world down into the cave. No other environment has provided such a strong sense of moving back in time, of moving from reality and into the imagination, and because of this some things that work in the 'outside world' seem less effective in the cave. For example, our eccentric tour-guide figures Mildred, Henry and Harriet from <i><a href="http://www.madebykatiegreen.co.uk/museums.htm">The Imagination Museum</a> </i>do not fit so easily into the world of the cave: their energy is suspended until we can see the daylight again. There are also many props that we would use in other <i>Imagination Museum </i>performances that do not seem appropriate in this environment. This means that the rhythm and the tone of the movement in the cave is very different from our other performances (and partly this is down to necessity, because the floor surface is really uneven and the dancers have very limited visibility at times). This is something to bear in mind when developing the characters for our <b>new Dancing in Caves performance piece </b>(which has the working title <i>Beneath Our Feet</i>), and when choosing the stories those characters might tell.</li>
</ul>
Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-49868482941418023912014-07-19T11:18:00.000+01:002015-04-27T23:22:38.615+01:00The Dancing in Caves ProjectWith support from the National Lottery through Arts Council England, from 2015 we will continue researching a new strand to our <a href="http://www.madebykatiegreen.co.uk/museums.htm">Dancing in Museums project</a>, creating a new piece (with the working title <i><b>Beneath Our Feet</b></i>) that will be designed for performance in caves and other underground spaces.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN_7T_xKfa4_-KkwsRA6iteojCDXQ9fo2jLGS3uwqXspI-_PbB9jdA86llEECkHqSNnhSJR0Mba4LdxvsDFzQmpEGlArZoLvABIeROaOus2-Yg_-3M6k87HSM8WC0Fk0n2_j0_4HqmtNdp/s1600/IMG_0010.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN_7T_xKfa4_-KkwsRA6iteojCDXQ9fo2jLGS3uwqXspI-_PbB9jdA86llEECkHqSNnhSJR0Mba4LdxvsDFzQmpEGlArZoLvABIeROaOus2-Yg_-3M6k87HSM8WC0Fk0n2_j0_4HqmtNdp/s1600/IMG_0010.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Jo Forrest; Dancers Robert Guy and Lucy Starkey</td></tr>
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<div class="separator" style="clear: both; text-align: center;">
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For tens of thousands of years, people have ventured underground in order to experience something out of the ordinary: to find sanctuary, reflect, create, participate in rites, hide or do something they should not be doing, to excavate and to build new spaces using new technologies. <i>Beneath Our Feet </i>will aim to continue this tradition of extraordinary experience through a unique performance event that will transport the audience back in time as they move further underground and further away from the natural sounds, temperature and light of the current world. It will explore the traces left by our prehistoric ancestors, but also speak about our most recent past, and the world as it is now.<br />
<br />
The movement for the new piece will respond to the structure of each underground space, embodying the way it has been carved out of the landscape naturally or created by human activity. It will draw inspiration from some of the oldest known artworks that have been found in caves, reflecting on the persistence of the creative impulse and the desire to make sense of the world around us, celebrating the tenacity of the human spirit and our boundless curiosity.<br />
<blockquote class="tr_bq">
<i>“Alone in that vastness, lit by the feeble beam of our lamps, we were seized by a strange feeling. Everything was so beautiful, so fresh, almost too much so. Time was abolished, as if the tens of thousands of years that separated us from the producers of those paintings no longer existed. It seemed as if they had just created these masterpieces.” (</i>The Mind In The Cave<i>, David Lewis-Williams)</i></blockquote>
Four performers (three dancers and a musician we hope) in <i>Beneath Our Feet </i>will act as guides for the audience. They will play, speak and dance as they journey around the particular site, but, unlike in <i>The Imagination Museum</i>, these guides will not be of this world. They will take on mysterious, shape-shifting characters that seem to appear from and vanish back into the fabric of the cave or underground space. Sometimes they will wait, motionless, watching, so they are barely discernible. Sometimes their voices will fill the space and they will rush past in an excitement of movement. The pathway of these characters will be enthralling to the audience, and at times they will be compelled to follow them as they rush on ahead, carrying the only light source further into the cave for example, or the music temporarily hypnotises them into following a particular path. However, in <i>Beneath Our Feet</i> we also want to facilitate the audience’s autonomy in experiencing the performance - giving them time to explore the environment for themselves, and choices about how they engage with the performance by putting them in control of the headlamp or torch that might be their only way to see what is happening for example.<br />
<br />
We want to learn everything we can about the cave environment from experts, and our research will bring together artists (writer, composer, animation/projection artist, designer), experts from 8 initial cave sites, geologists, archaeologists and cavers for example. As with the <a href="http://www.madebykatiegreen.co.uk/museums.htm">Dancing in Museums project</a>, we will also provide opportunities for young people to be involved in <b>the Dancing in Caves project </b>from its earliest stages.<br />
<br />
We have already collected our first 8 potential sites for this project; please <a href="http://www.madebykatiegreen.co.uk/contact.htm">contact us</a> if you can think of a cave or underground space that we should explore. Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-43754343731204160472014-05-12T12:47:00.000+01:002014-05-12T12:47:01.677+01:00Dancing in Museums update and more performance detailsThe <a href="http://www.madebykatiegreen.co.uk/museums.htm">Dancing in Museums project</a> has been going from strength to strength since my last blog update in March, with performances at <a href="http://www.bostonguildhall.co.uk/">Boston Guildhall</a>, the <a href="http://www.atgtickets.com/shows/spring-shorts-2014/rhoda-mcgaw-theatre/">Rhoda McGaw Theatre</a> in Woking and <a href="http://www.northampton.gov.uk/museums">Northampton Museum and Art Gallery</a>, and a lot more happening behind the scenes. Here are a few links to images and videos from these performances:<br /><br /><b>Boston Guildhall</b><br />
<blockquote class="tr_bq">
<i>"dance company Made by Katie Green performed selections from their piece </i>The Imagination Museum<i>...the Guildhall Museum provided a perfect backdrop for it, as the performers literally guided audience members through the Museum, giving them a personalised and highly original tour of the building through their performance" (Elizabeth Bergeron, Engagement Officer, Transported) </i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1U8VpOZrPoaqHuLMaXyp7r_Mh6zt2Aa3Pgk8hNyl3npiU8NQdpSpxm7uO7lclE7pQDY1wYEyEzVNwjbYExHsX3pCg3Nd2ANOx2u8FInx18mIiMK5xT5VbfhLTxqf7IDcZ9iOtQ9eYeqgL/s1600/Past-Inspired-Launch-Imagination-Museum-10.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1U8VpOZrPoaqHuLMaXyp7r_Mh6zt2Aa3Pgk8hNyl3npiU8NQdpSpxm7uO7lclE7pQDY1wYEyEzVNwjbYExHsX3pCg3Nd2ANOx2u8FInx18mIiMK5xT5VbfhLTxqf7IDcZ9iOtQ9eYeqgL/s1600/Past-Inspired-Launch-Imagination-Museum-10.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo: Steve Hatton; Dancers: Lucy Starkey and Hannah Wintie</td></tr>
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You can see video extracts from our performances as part of the <a href="http://www.transportedart.com/event/past-inspired-launch/">Transported Past Inspired Launch Event</a> <a href="http://www.youtube.com/watch?v=RJHxqhdDVXY">here </a>(video by Electric Egg). We were joined by lovely apprentice dancer <a href="http://www.madebykatiegreen.co.uk/currentcompany.htm#HannahWintie">Hannah Wintie</a> for these performances. Steve Hatton also took some great photos, which you can see <a href="http://www.transportedart.com/past-inspired-launch-gallery/">here</a>.<br /><br /><b>Rhoda McGaw Theatre (part of Dance Woking Spring Shorts)</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc76429zhm2kqn0FtT3nvYazlQt3CllbgTFoplSROd_-dH-lmI3hPpNuOH7D3kN0g-ycSuJnqrLd0aqiSQX3nATmnfOM_mRHVufunsY6VzFzIs1dlYt0xJ0vUpprdmk8ja0iyy90G019cx/s1600/photo+5.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc76429zhm2kqn0FtT3nvYazlQt3CllbgTFoplSROd_-dH-lmI3hPpNuOH7D3kN0g-ycSuJnqrLd0aqiSQX3nATmnfOM_mRHVufunsY6VzFzIs1dlYt0xJ0vUpprdmk8ja0iyy90G019cx/s1600/photo+5.JPG" height="287" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In rehearsal at The Lightbox, Woking; Dancers: Rob Guy, Jessamin Landamore and Lucy Starkey</td></tr>
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We had a great time working with 5 groups of children from local primary schools in the run-up to our performances at the Rhoda McGaw, and 160 of these children and their teachers then came to watch our matinee on the 3rd April 2014. Rehearsal photos are online <a href="https://www.facebook.com/media/set/?set=a.670847086307032.1073741837.243984422326636&type=3">here</a> and <a href="https://www.facebook.com/media/set/?set=a.671303906261350.1073741838.243984422326636&type=3">here</a>.<br /><br />
<b>Northampton Museum and Art Gallery</b><br />
<blockquote class="tr_bq">
<i>"On the day itself the dancers worked well in the chosen spaces, suggesting new ways of interacting with collections...The result was lots of happy faces by the final performance!" (Elizabeth Long, Northampton Museum and Art Gallery) </i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmufCCTuw0wnl2TleRo2tkMSMkxhLNC0oUyWpyO6Zj1kUDJQAsdJPBeKIoAok3B-bOFovz_H3r3N3MHqb0vtHxQWfJUA2h6mRWg_U2mQpmZforNE2lBgh_F0MMxVWdHu4eUDPWLthq9DC/s1600/photo+2+(4).JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVmufCCTuw0wnl2TleRo2tkMSMkxhLNC0oUyWpyO6Zj1kUDJQAsdJPBeKIoAok3B-bOFovz_H3r3N3MHqb0vtHxQWfJUA2h6mRWg_U2mQpmZforNE2lBgh_F0MMxVWdHu4eUDPWLthq9DC/s1600/photo+2+(4).JPG" height="235" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In performance at Northampton Museum and Art Gallery; Dancers: Rob Guy, Jessamin Landamore and Lucy Starkey</td></tr>
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There are some photos of our rehearsals and performances <a href="https://www.facebook.com/media/set/?set=a.674897635901977.1073741839.243984422326636&type=3">here</a> and <a href="https://www.facebook.com/media/set/?set=a.675385009186573.1073741840.243984422326636&type=3">here. </a><br /><br /><b>Ipswich Museum </b><br />
<blockquote class="tr_bq">
<i>"Katie was able to work with the young people involved in the Unlocked project to support them to create their own work inspired by artefacts from our Charles Partridge Collection. The children really enjoyed the process, developing their dance skills and their confidence whilst also interpreting the collection in a new way. Parents commented how they practiced regularly at home and spoke of little else as they prepared for the public performances." (Rachel MacFarlane, Colchester and Ipswich Museums Service)</i></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerdhVcLgAkHBmetD_Z-Qm5bLvf3nxW67wDSSzYDi7iBHGSqOkO1AlFmZiTxluLPKxcxUSds2K17ybXZkx5EMrvEPp1AbmM2D2YdfnTbANzf-sDl6uHPDm0PXle6Kg7jXXeXiTEuJAT_D6/s1600/DSC_0669.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgerdhVcLgAkHBmetD_Z-Qm5bLvf3nxW67wDSSzYDi7iBHGSqOkO1AlFmZiTxluLPKxcxUSds2K17ybXZkx5EMrvEPp1AbmM2D2YdfnTbANzf-sDl6uHPDm0PXle6Kg7jXXeXiTEuJAT_D6/s1600/DSC_0669.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The <i>Museum Mischief</i> dancers in performance at Ipswich Museum; Photo: Colchester and Ipswich Museum</td></tr>
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You can now see footage from the <a href="http://www.cimuseums.org.uk/unlocked">Unlocked Project</a> (Colchester and Ipswich Museums Service), with which we were involved in October and November 2013, in a series of videos here:<br /><a href="https://www.youtube.com/watch?v=otwypWV_M-Y">https://www.youtube.com/watch?v=otwypWV_M-Y</a><br />
<a href="https://www.youtube.com/watch?v=73aMbHIxBmA">https://www.youtube.com/watch?v=73aMbHIxBmA</a> <br /><a href="https://www.youtube.com/watch?v=2M5fwIEl-JU">https://www.youtube.com/watch?v=2M5fwIEl-JU</a><br />
<a href="https://www.youtube.com/watch?v=9kr4dhemQTg">https://www.youtube.com/watch?v=9kr4dhemQTg</a><br /><br /><b>What's next?</b><br /><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1MsOi71Gemgj4ArummY6tV_cCmm1MW1VV95frbuVoqyTN1_tnprKRlDRJcdzYNIa0Z2d-8sLBcSvRQ4S8g59y6ZDcXxpLdxAh2IeUjpUV6z4LOjJtChssxRh4yKEFAp6hRiiI1xBLMLK/s1600/DSC_5252A4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhO1MsOi71Gemgj4ArummY6tV_cCmm1MW1VV95frbuVoqyTN1_tnprKRlDRJcdzYNIa0Z2d-8sLBcSvRQ4S8g59y6ZDcXxpLdxAh2IeUjpUV6z4LOjJtChssxRh4yKEFAp6hRiiI1xBLMLK/s1600/DSC_5252A4.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo Chris Nash; Dancers: Rob Guy, Jessamin Landamore and Lucy Starkey</td></tr>
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As well as working towards the performances of <i>The Imagination Museum</i> and Dancing in Museums workshops that have already happened, my time has been fully occupied planning ahead to our next performances for the summer (details below), and also looking further ahead to the autumn and next year. This planning involves visiting a great many wonderful museums and heritage sites across the UK. Over the past few weeks for example, these museums have included the <a href="http://www.britishmuseum.org/">British Museum</a>, <a href="http://www.uttlesford.gov.uk/museum">Saffron Walden Museum</a>, <a href="http://www.cityoflondon.gov.uk/things-to-do/attractions-around-london/keats-house/Pages/default.aspx">Keats House</a>, <a href="http://www.tunbridgewellsmuseum.org/">Tunbridge Wells Museum and Art Gallery</a>, <a href="http://www.dorsetcountymuseum.org/">Dorset County Museum</a> and the <a href="http://www.rammuseum.org.uk/">Royal Albert Memorial Museum and Art Gallery</a> in Exeter (you can follow my ongoing trail of museum visits on Twitter <a href="https://twitter.com/madebyKG">@madebyKG</a>).<br /><br />I’m finding that it can take quite a long time to put each new museum collaboration in place, and this is because it is necessary to make sure the project works in the best, most appropriate way for each context. This might involve finding the right combination of workshops and performances, identifying local schools who want to get involved in the project, visiting the site on several occasions to plan how <i>The Imagination Museum</i> performance can work there (the performance is never the same at any two places) and making sure we leave enough time to raise awareness about the collaboration and therefore develop an audience. I’m really grateful to the inspiring members of museum staff who give their time to show me round their sites and tell me about their collections; there’s such a wealth of information to take in, and it’s a privilege to be part of something which encourages young people to attend or re-attend their local museums and perhaps see them in a new light.<br /><br /><b>Forthcoming performances/workshops</b><br /><br />The best ways to find out about our forthcoming performances of <i>The Imagination Museum</i> are to visit the museums page of our <a href="http://www.madebykatiegreen.co.uk/museums.htm">website</a>, <a href="http://www.madebykatiegreen.co.uk/contact.htm">join our mailing list</a> or follow us on <a href="https://www.facebook.com/madebykatiegreen">Facebook</a> or <a href="https://twitter.com/madebyKG">Twitter</a>. Here is a quick update on our next adventures (as soon as final details are confirmed we'll add them to our website):<br /><br /><b>7th June: <a href="http://www.cityoflondon.gov.uk/things-to-do/attractions-around-london/keats-house/Pages/default.aspx">Keats House</a></b><br />
we are part of the <a href="http://www.cityoflondon.gov.uk/things-to-do/attractions-around-london/keats-house/Pages/Keats-Festival.aspx">Keats Festival 2014</a>, and will be joined by writer <a href="http://www.madebykatiegreen.co.uk/currentcompany.htm#AnnaSelby">Anna Selby</a>; free 20 minute performances at 1.30, 3 and 4.30pm; workshops for 6-11 year olds at 2 and 3.30pm (<a href="http://www.eventbrite.co.uk/e/keats-festival-dancing-in-keats-house-2-workshops-tickets-11427994439?aff=eorg">tickets £2</a>); twilight performances with readings from Anna (<a href="http://www.eventbrite.co.uk/e/keats-festival-the-imagination-museum-tickets-11401081943?aff=eorg">tickets £8</a>) at 7pm; more information <a href="http://www.cityoflondon.gov.uk/things-to-do/attractions-around-london/keats-house/Pages/Keats-Festival.aspx">here</a><br />
<br /><b>8th June: <a href="http://www.brooklandsmuseum.com/">Brooklands Museum</a> </b><br />
we are delivering Dancing in Museums workshops on-site at <a href="http://www.brooklandsmuseum.com/">Brooklands Museum</a> as part of 6plus2artcollective's Re-store Project; workshop 10-4pm (suitable for 7-11 year olds), leading to a performance in the Wellington Hangar; tickets £5; more information <a href="http://www.brooklandsmuseum.com/index.php?/events/details/re-store-performance-workshop-by-katie-green/">here</a><br /><b> </b><br />
<b>30th June: <a href="http://www.tramway.co.uk/">Crich Tramway Village</a></b><br />
we'll be working with local primary school children at <a href="http://www.tramway.co.uk/">Crich Tramway Village</a> in Derbyshire<br /><b> </b><br />
<b>7th July: <a href="http://www.tunbridgewellsmuseum.org/">Tunbridge Wells Museum and Art Gallery</a></b> <br />
we’ll be working on-site at <a href="http://www.tunbridgewellsmuseum.org/">Tunbridge Wells Museum and Art Gallery</a> preparing for our work with local schools on the 8th and 9th July (with South East Dance; part of Kent Dancing); final details tbc<br /><b> </b><br />
<b>12th July: <a href="http://www.canterbury.co.uk/Beaney/">Beaney Art Museum and Library</a></b><br />
after 2 days in Canterbury schools we’ll be at the <a href="http://www.canterbury.co.uk/Beaney/">Beaney Art Museum and Library</a> (with South East Dance; part of Kent Dancing); final details tbc<br /><b> </b><br />
<b>13th July: <a href="http://www.horniman.ac.uk/">Horniman Museum</a> </b><br />
we'll be at the <a href="http://www.horniman.ac.uk/">Horniman Museum</a> in London; final details tbc<br /><b> </b><br />
<b>27th July: <a href="http://www.creswell-crags.org.uk/">Creswell Crags</a> </b><br />
we'll be performing in the Robin Hood Cave at <a href="http://www.creswell-crags.org.uk/">Creswell Crags</a> in Derbyshire; final details tbc<br /><br />Associated with our extract performances of <i>The Imagination Museum</i> at Creswell Crags, we are also excited about potential to develop <b>a new cave-specific dance piece,</b> and have begun researching possible ways to make this happen in the future. <a href="http://www.madebykatiegreen.co.uk/contact.htm">Let us know</a> if there's a cave site near you that could be a wonderful place for us to perform!Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-70412810499295525242014-03-12T18:12:00.001+00:002014-03-12T18:16:51.014+00:00Making work for a younger audience<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcnwRIb0kjjJHGeIikNB62hT-EWK_YI0ymrP8gP6COamiskxOICvxkU4OKJ4FeQwdJRXa7jAoriuaX3JvWP-LXoRHh_gEoaHdXmvUtWN4qSxkZ8of5y32bdb1bL1Xn_7ltcZx-P69kbPn/s1600/DSC_5248.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmcnwRIb0kjjJHGeIikNB62hT-EWK_YI0ymrP8gP6COamiskxOICvxkU4OKJ4FeQwdJRXa7jAoriuaX3JvWP-LXoRHh_gEoaHdXmvUtWN4qSxkZ8of5y32bdb1bL1Xn_7ltcZx-P69kbPn/s1600/DSC_5248.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chris Nash</td></tr>
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Following on from the observations I made whilst <a href="http://madebykatiegreen.blogspot.co.uk/2013/04/reflections-from-time-with-full-house.html">shadowing Enrique Cabrera from Aracaladanza and Full House Theatre Company</a> early in 2013, I have had the opportunity (with support from a <a href="http://www.surreydancecollective.com/">Surrey Dance Collective</a> mentoring bursary) to work with choreographic mentor <a href="http://www.nikimccretton.com/">Niki McCretton</a> during the development of my <a href="http://www.madebykatiegreen.co.uk/museums.htm">Dancing in Museums project</a> in order to further understand what it means to make work for younger audiences. Niki is a specialist in creating performances for children and families and Artistic Director of <a href="http://www.aloadofstuffandnonsense.co.uk/">Stuff and Nonsense Theatre Company</a>. She helped me to consider:<br />
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• ways to draw the audience in, and particularly preparing them for seeing something which they had maybe not seen before<br />
• how to work with the audience as co-collaborators, asking them to help with tasks the characters needed to complete<br />
• the significance of non-verbal communication: sometimes taking the description/text away, but then dropping it back in where necessary (e.g. in the sound score)<br />
• the importance of not offering any final answers about what the artefacts could be, or how they could be interpreted, but rather offering possibilities about what they might be<br />
• which pieces of historical information it might be important to include in <i>The Imagination Museum</i><br />
• how to convey the passage of time in a way that a younger audience could relate to<br />
• how important the overall structure and transitions between sections would be to the audience (compared to how important they seemed to be to me)<br />
• the importance of presenting <i>The Imagination Museum</i> in a way that the children would potentially not have come across before in formal education, emphasising its playfulness and physicality<br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPTutpjIRumT7ot5u04LUTfApbNKBoOy6mcNRNrs3PwNzLntWpZzhZ9HsxLQVH3xK46cRgA9ux1ohXtk7O-rybAJZzSZ3tWb1TFczF2uPgwc0q9GN8HkjdsLVeqYNTjZVfMGt-9cLEE-ro/s1600/DSC_5454.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPTutpjIRumT7ot5u04LUTfApbNKBoOy6mcNRNrs3PwNzLntWpZzhZ9HsxLQVH3xK46cRgA9ux1ohXtk7O-rybAJZzSZ3tWb1TFczF2uPgwc0q9GN8HkjdsLVeqYNTjZVfMGt-9cLEE-ro/s1600/DSC_5454.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chris Nash</td></tr>
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Details of the full creative team for <i>The Imagination Museum</i> are available on my website here: <a href="http://www.madebykatiegreen.co.uk/museums.htm">http://www.madebykatiegreen.co.uk/museums.htm</a>, and I am indebted to all of these brilliant people for their hard work and enthusiasm. I’m looking forward to where we take the Dancing in Museums project next: keep updated by <a href="https://www.facebook.com/madebykatiegreen">liking our page on Facebook</a>, <a href="https://twitter.com/madebyKG">following us on Twitter (@madebyKG)</a>, <a href="http://www.madebykatiegreen.co.uk/museums.htm">visiting the museums page on our website</a> and <a href="http://madebykatiegreen.blogspot.co.uk/search/label/Dancing%20in%20museums">reading the posts on our blog labelled ‘Dancing in Museums’</a>.Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-42795521517339797492014-03-12T17:45:00.002+00:002014-03-12T17:51:49.918+00:00What have I learnt during the making of The Imagination Museum?<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSUE9Hf5ySW96wOJJNbiBpvqixtu2bA0OXZop7C_sejWVs9rYACVpy3Eyl2q33uQaZm23vsSbnDze3zB0Qq3AoLUU8jFMz8yvHkYbS7FALnNyB0wZTmJ3w_I9GlOe7bwlLKt3RckKiy_x/s1600/DSC_5328.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHSUE9Hf5ySW96wOJJNbiBpvqixtu2bA0OXZop7C_sejWVs9rYACVpy3Eyl2q33uQaZm23vsSbnDze3zB0Qq3AoLUU8jFMz8yvHkYbS7FALnNyB0wZTmJ3w_I9GlOe7bwlLKt3RckKiy_x/s1600/DSC_5328.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chris Nash</td></tr>
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The biggest challenge for the making of <i>The Imagination Museum</i> was that I could not cover every possible kind of museum artefact in one piece, so had to make some decisions about which artefacts to explore in more depth for our initial repertoire of museum objects. Our R&D with primary school children helped me to make these choices, but it seemed that we would need to also explore some overarching themes/questions that museum and heritage sites both raise and address in order to create a work that would contain something for everyone and be adaptable to a range of contexts.<br />
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Our <a href="http://www.madebykatiegreen.co.uk/currentcompany.htm#JamesPerkins">designer James Perkins</a> came up with a way of looking at each of our initial repertoire of museum artefacts from three interconnected perspectives: evolutionary, mechanical/technological and decorative/imaginative. We thought that if we could somehow cover each of these perspectives, or were at least informed by all of them in the making of the work, we could create a piece that would cross over into different ideas, contexts and opinions.<br />
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In addition there were several key concerns that informed the work:<br />
• I wanted the work to talk about <b>how people try to make sense of the world around them</b> and how objects can help us to do that (<b>the act of interpretation</b>, or piecing something together from fragmentary clues)<br />
• I became fascinated by the information objects could give us about <b>the development of the modern human mind</b>, particularly the earliest man-made objects (e.g. the stone tool and first works of art)<br />
• I wanted to give a sense of the <b>sheer scale of time</b> involved in the history of the world<br />
• In <i>The Imagination Museum</i> the overall structure of the work is cyclical and returns to the ‘tour-guide’ world where characters Mildred, Henry and Harriet live after almost every artefact-story (with some exceptions to ensure that the rhythm keeps shifting and does not fall into an expected pattern). It is part of my choreographic signature to use this kind of reiterating structure, but in this particular work I have chosen to use it as a reflection of the idea that <b>nothing can be certain in the world except change</b>. The dancers talk about this in the ‘future’ section of the work:<br />
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<i>“Mildred: Do things have to end?</i><br />
<i>Henry: No, they don’t have to end...</i><br />
<i>Harriet: they just keep changing!”</i><br />
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<b>Working with a writer</b><br />
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I have thoroughly enjoyed working with <a href="http://www.madebykatiegreen.co.uk/currentcompany.htm#AnnaSelby">writer Anna Selby</a> for the first time during this project, and integrating text into <i>The Imagination Museum</i>. The written element of the work has drawn on a broad range of feelings or sensations which have in turn become rich source material for the movement in the piece: as Anna describes, she has tried to incorporate awe/wonder, humour, something scary, something gory, something beautiful, and something sad/poignant.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiy1NhVbJUr_L2Sn8IxtwK1tZHvXefKiZMBq5P2PzZBMZ0R7aEPPZSSbIfSffPUzuRNWIUwWO5K-Rwg2K4FCTuVeoeS9MWjBUOiXsl0Z3Vfr8Md66_SkYobHOjydTUXSQB3_ybx8Fwd0fp/s1600/DSC_5269A4.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiy1NhVbJUr_L2Sn8IxtwK1tZHvXefKiZMBq5P2PzZBMZ0R7aEPPZSSbIfSffPUzuRNWIUwWO5K-Rwg2K4FCTuVeoeS9MWjBUOiXsl0Z3Vfr8Md66_SkYobHOjydTUXSQB3_ybx8Fwd0fp/s1600/DSC_5269A4.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chris Nash</td></tr>
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I have learnt about many possibilities for choreographing text alongside movement during the making of <i>The Imagination Museum</i> e.g. speaking or manipulating the sounds of the words whilst moving, mouthing or whispering to confide in the audience, singing, speaking as a group or individually, writing down notes, integrating words into the sound score (in collaboration with <a href="http://www.madebykatiegreen.co.uk/currentcompany.htm#MaxPerryment">composer Max Perryment</a>), using voice as a way of conveying character (we have also worked with particular props to develop characterisation), reciting and improvising. Throughout the rehearsal, Anna has written many fragments of text, developing and editing where appropriate, and the dancers have also been heavily involved in writing and re-writing. Anna’s openness to this collaborative way of working is invaluable, as it enables us to devise text in the same way/at the same time as we devise movement, and therefore the text and movement come together more coherently.<br />
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In the case of <i>The Imagination Museum</i>, the integration of text also enables us to draw our audience in to the work, as the characters can address them directly, encourage them to interact or answer back, and, where appropriate, signal to them what they are trying to depict with their movement. This does not mean that the movement or the text have to be literal and it is useful to leave room for ambiguity to allow for the audience’s interpretation of what is happening. However, even a single word or fragment can help to link a movement to its source material, and this may be just enough to give an audience member, particularly someone who is not familiar with dance, confidence about their own way of seeing the work.Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-37288630251527949322014-03-12T17:42:00.000+00:002014-03-12T17:42:45.628+00:00What is The Imagination Museum about?<br />
As we go into re-rehearsal of <i>The Imagination Museum</i> for our forthcoming performances at <a href="http://www.wokingdancefestival.co.uk/news/SpringShorts2014">Dance Woking</a> (3rd April, 1pm schools matinee; 6.30pm evening performance) and <a href="http://www.northampton.gov.uk/museums">Northampton Museum & Art Gallery </a>(9th April; 11am, 1.30, 2.30pm), I’m looking over rehearsal/performance footage and old notes, and thought I’d share some more updated information about what the piece has grown into since <a href="http://madebykatiegreen.blogspot.co.uk/2013/03/end-of-week-1-dancing-in-museums-r.html">we started researching it in March 2013</a>. I’m going to put this into several blog posts, as there’s quite a lot of information to share!<br /><b><br />What is <i>The Imagination Museum </i>about?</b><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx8k86akQsfmdnaF120L1emjVzvFPHyngZR4I9kkTtWZP5c7oVClRJBui9arBj-UEIWznoHOFlKSY4-R9UVUuBApOrJgR4sFcCVf5k7mPH8gnFG2_I8Htuqwmi5Sl-5Bw5qQ56qeLE0Zug/s1600/DSC_5155.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx8k86akQsfmdnaF120L1emjVzvFPHyngZR4I9kkTtWZP5c7oVClRJBui9arBj-UEIWznoHOFlKSY4-R9UVUuBApOrJgR4sFcCVf5k7mPH8gnFG2_I8Htuqwmi5Sl-5Bw5qQ56qeLE0Zug/s1600/DSC_5155.jpg" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chris Nash</td></tr>
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Our wonderful writer-collaborator <a href="http://www.madebykatiegreen.co.uk/currentcompany.htm#AnnaSelby">Anna Selby</a> wrote a series of poems and fragments in response to a range of different museum artefacts including a fossil, an Ice Age engraving, a stone tool, Roman armour and an excavated skull. This selection of artefacts was informed by <a href="http://madebykatiegreen.blogspot.co.uk/2013/03/end-of-week-1-dancing-in-museums-r.html">our R&D with members of our target audience</a>. Some of Anna’s writing also speculates about hypothetical future artefacts, which enables the audience to think about what might happen next, what we are at risk of losing, and what will change.<br /><br />I then worked with <a href="http://www.madebykatiegreen.co.uk/currentcompany.htm">the dancers</a> to bring these written pieces to life through solo, duet and trio activity. Additionally, each of the dancers has created an eccentric ‘tour-guide’ character for the transitions between the artefact-stories. These tour-guides are called Mildred (who is in charge), Henry (who likes to cause trouble) and Harriet (who likes to go off into her own world), and they keep the audience entertained with a lot of to-ing, fro-ing, measuring and questioning. <br /><br />The piece is highly interactive, integrating set choreographic elements as well as improvised sections that are developed in response to the audience. It has been designed so that it can be performed as a complete piece or in extract form, as appropriate to each performance context. So, for example, in a theatre the piece begins with a 10 minute ‘pre-set’ as the audience are entering the auditorium, and then runs for 50 minutes. We can also perform extracts from this full piece as a promenade throughout a museum, and we can introduce new elements as well in response to the input of children local to the museum/heritage site and/or to the particular collection/focus of each museum. <br /><br /><b>What have people said about the work so far?</b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS1Adx9p5JoSgWKq1DfZVQpDPBUlnrmBSQAxvSl-82PjCz_jZFj6kWLBKbdlooNp4iPdU2sNreDHMqI0U3iWXT1Dx3f8nxGOjhrEjN8-ZkdvigQPVwhJKs-3lQNlcPR6sW_j0xJ4g4NFob/s1600/DSC_5462.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS1Adx9p5JoSgWKq1DfZVQpDPBUlnrmBSQAxvSl-82PjCz_jZFj6kWLBKbdlooNp4iPdU2sNreDHMqI0U3iWXT1Dx3f8nxGOjhrEjN8-ZkdvigQPVwhJKs-3lQNlcPR6sW_j0xJ4g4NFob/s1600/DSC_5462.jpg" height="320" width="213" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Chris Nash</td></tr>
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We’ve been fortunate to receive lots of great feedback on the work from our first young audiences and their teachers/families, which indicates that the children like <i>The Imagination Museum</i>’s physicality, interactivity and the way that it is entertaining but also atmospheric, and gives a little bit of historical information as well. For example:<br /><i><br />“It was action packed...Bouncy”<br />“I liked it when we had to throw the boxes down to Henry and when they put the big box on their head” <br />“I really liked it when they came into the audience and asked us things”<br />“It made us think”<br />“I learnt about fossils and facts I didn’t know”<br />“I learnt some new history in a fun way!”<br />“I’d like to see the future, no one really knows what will happen in the future so I’d like to see what other people think will happen”<br />“Funny, brilliant, gobsmacking”</i><br />Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-41110234724030021432014-03-12T16:25:00.002+00:002014-03-12T16:25:33.138+00:00Kate Thomas: internship with Made By Katie Green, August - December 2013<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi30gr29LC3R3Flw-7NkFAReVJTgyrkAeAK_rbNJcM6hW_ts7O4O94Y30fQJfWrtfznhcwwjvgEVfxSf12eLX6FodN049mZck4EJBkfdmrAmZ8MzmUf5-E6YOb4p_zo1Fn4zdGGj7phOKoa/s1600/KT-Headshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi30gr29LC3R3Flw-7NkFAReVJTgyrkAeAK_rbNJcM6hW_ts7O4O94Y30fQJfWrtfznhcwwjvgEVfxSf12eLX6FodN049mZck4EJBkfdmrAmZ8MzmUf5-E6YOb4p_zo1Fn4zdGGj7phOKoa/s1600/KT-Headshot.jpg" height="200" width="195" /></a>My three month internship has involved me working alongside Katie and her company, <a href="http://www.madebykatiegreen.co.uk/">Made By Katie Green</a>, during the rehearsal process, initial performances and associated workshops of her <a href="http://www.madebykatiegreen.co.uk/museums.htm">Dancing in Museums project</a>. I primarily applied for the internship because I was passionate about broadening my knowledge and experience of the professional industry that I aspire to work in.<br />
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The 5 week intensive rehearsal period was a chance for me to completely immerse myself in Katie’s creative process. I was asked to research different historical information based around the museum artefacts identified. I also took rehearsal notes, photos, interviewed the dancers for the company blog as well as completing various administrative tasks for Katie. Being in rehearsals was important to gain a solid context for the project: I had an insight into Katie’s vision so far and then watched that come to life. <br />
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Throughout these rehearsals I got a chance to work closely with the company dancers. My knowledge of being self-employed was limited, so this time gave me a chance to ask lots of questions and gain a real understanding into how they organise their work, as well as all the technical things, such as self assessment for tax and national insurance.<br />
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Seeing Katie’s organisation, hard work and passion for the project was inspiring. Her choreographic style encouraged the dancers’ input and creativity. It was interesting to see how the dancers responded to set tasks and how Katie honed their ideas and material. Katie had numerous other strands that ran alongside the creative studio work. She had to be in regular communication with the costume designer, composer, writer, lighting designer and organising marketing throughout, making sure that all aspects of the project were running smoothly. This really gave me an understanding of the time, dedication and motivation that is needed when running your own company.<br />
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As part of my internship I spent a day with <a href="http://mortonbates.com/">Morton Bates Arts Services</a> who offer consultancy and areas of management to Made By Katie Green. This time gave me a clear insight into how companies such as Katie’s are supported. I had the chance to observe another artist’s consultancy meeting which helped me to contextualise the role of Morton Bates Arts Services even further. I found this work experience inspiring and I was excited by the work that Joe Bates and Claire Morton do. It gave me a chance to meet someone who is at the top of their field in an area that I aim to work in, and to ask them questions. <br />
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As part of my time with Katie, I accompanied her to different events that she goes to as a dance artist. I had the invaluable opportunity to meet a number of professional people working in the industry. I had the chance to network and introduce/conduct myself as a professional, discussing my internship and my future aspirations. This led to getting some fantastic advice about my next steps as well as discussing and learning about other people’s careers and projects. I was also told about job vacancies that I might be interested in. <br />
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In conclusion, this internship has given me a chance to get invaluable experience for my future career. It has undoubtedly equipped me with skills and knowledge that I will take forward. <br />
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Since completing the internship, I have successfully been appointed as an Arts Engagement Worker of the Transported project based in Boston and South Holland (<a href="http://www.transportedart.com/">www.transportedart.com</a>). Without a doubt, my experience gained over the course of the internship contributed to this appointment.<br />
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I would like to thank Katie for giving me this opportunity and for generously sharing her knowledge and time and the <a href="http://www.uolcareers.co.uk/">University of Lincoln</a> for supporting the internship.<br />
<i> </i><br />
<i>Picture from the </i><a href="http://www.transportedart.com/">www.transportedart.com</a> <i>website.</i> <br />
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<br />Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-41326915663783719942013-12-13T13:13:00.001+00:002013-12-13T13:14:24.027+00:00New trailer for The Imagination MuseumWe can now share our new trailer for <i>The Imagination Museum, </i>filmed onsite at <a href="http://www.cimuseums.org.uk/venues/ipswich-museum.html">Ipswich Museum</a> by <a href="http://www.wigglylineproductions.com/">Wigglyline Productions</a>:<br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dy3smxL1RFCBQKtKbcWhH4wExj9qlk_5jwp_kwCWNzxNbq24UYNYBSiyKWdvZvmLdoMYaarLNipyWgrF2bqqw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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You can also see this on our main website <a href="http://www.madebykatiegreen.co.uk/">here</a> and <a href="http://www.madebykatiegreen.co.uk/museums.htm">here</a>, and on the Wigglyline Productions Vimeo page <a href="https://vimeo.com/80934209">here</a>. <br />
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Dancers: Robert Guy, Jessamin Landamore, Lucy Starkey<br />
Writing: Anna Selby<br />
Composer: Max Perryment<br />
Costume design: Berit Laageide<br />
Design: James Perkins <br />
Filming: Wigglyline Productions<br />
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With thanks to our funders, partners, Made By All Of Us Patrons and Ipswich Museum.<br />
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<i> </i>Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0tag:blogger.com,1999:blog-2388915463237286106.post-84017531839079973832013-10-02T23:53:00.000+01:002013-10-02T23:53:15.701+01:00Video extracts from week 5 of rehearsal for The Imagination MuseumOur intern Kate has put together some video extracts from week 5 of rehearsal for <i>The Imagination Museum</i>. This gives a taster of the huge range of movement material we are including in the theatre version of the piece:<br />
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Dancers: Rob Guy, Jessamin Landamore, Lucy Starkey, Hannah Wintie<br />
Music: Max Perryment<br />
Filmed and edited by Kate Thomas<br />
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Your first chances to see performances of <i>The Imagination</i> <i>Museum</i> will take place:<br />
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at <a href="http://www.thecollectionmuseum.com/">The Collection Museum</a>, Lincoln<br />
23rd October, 1pm and 3pm<br />
Free extract performances, no need to book<br />
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at <a href="http://www.terryotooletheatre.org.uk/">The Terry O'Toole Theatre</a>, North Hykeham<br />
7th November, 1pm and 6.30pm<br />
Contact the Box Office on 01522 883311<br />
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Visit <a href="http://www.madebykatiegreen.co.uk/museums.htm">http://www.madebykatiegreen.co.uk/museums.htm</a> for more information. Made By Katie Greenhttp://www.blogger.com/profile/07230467154689807079noreply@blogger.com0