The Importance of the Arts

‘When times are tough, art is salve for the ache’. In the great debate into the importance of the arts, these words by writer and humourist Randy Cohen truly emphasise the role that the arts play in human life. Whilst they, of course, have to be considered secondary to physiological needs such as food and shelter, the arts contribute to other elements including social belonging, education and passion to provide a certain quality of life. Peter Bazalgette, Chair of Arts Council England, reinforced this idea in The Observer in December 2014, stating that whilst ‘medicine attends to the body … the arts cares for the person’.

The arts are particularly unique in their development of key social values, including greater co-operation, diversity and fortitude. In a time of funding cuts and reductions both the presence of and access to the arts are suffering tremendously, therefore it can be certain that it will be society’s wellbeing bearing the consequences. Without music to move us, theatre to divert us or books to enlighten us the prospective future of our emotional health looks increasingly bleak, and for that reason it is more important than ever to focus attention on the preservation of the arts sector.

The importance of smaller arts organisations can often become overlooked in comparison to the larger issues at hand in the arts industry, and yet these are the places that provide for the artistic and cultural needs of their local communities – communities that deserve the same artistic fulfilment as those more conveniently located in city centres. It is also these organisations that create an essential bridge between amateur and professional, between learning and experience, and between groundwork and achievement.

Even the great economist John Maynard Keynes identified that the arts were not just some ‘dinky thing’ to be enjoyed when you could afford it, but were ‘as important as GDP’ (Today, BBC Radio 4, 9 February 2015). As chairman of the Council for the Encouragement of Music and the Arts (CEMA), later the Arts Council, Keynes played a vital role in establishing the place of the arts as a national social service. His influential contribution to society’s economic well-being instigated recognition of the arts as an important and central part of life.

Whilst we may not need the arts in order to survive, it can be argued that we do need them in order to live. Furthermore the arts are not only an indication of societal development; they are a sign of a successful civilisation. Focusing on the arts signifies progression beyond fundamental survival and demonstrates a higher quality of life – surely an ultimate goal that we all collectively share.

This piece was written as part of my work for Clonter Opera Theatre, and published within an article in The Chronicle Series (The Chronicle, Thursday 23rd April 2015, www.chronicleseries.co.uk).

A Midsummer Night’s Dream | The Globe

A Midsummer Night’s Dream (The Globe)

Directed by Dominic Dromgoole

Cinema screening – 28 Jul 14

The comedy A Midsummer Night’s Dream is without doubt one of Shakespeare’s most popular and frequently staged plays, and this production by The Globe Theatre delivered both the expected and the surprising. Performed with Renaissance dress and staging, the entirety of the play exuded traditional Shakespearean theatre, although the cinema screening reduced most of the Globe experience due to the amount of close ups. However, this is an accepted risk when watching on screen rather than live in the theatre, and the accessibility these cinema screenings provide cannot be over-rated.

The play opened with a carefully choreographed fight/dance between Theseus (played by John Light) and Hippolyta (Michelle Terry), which highlighted the often overlooked fact that the impending wedding between these two characters is actually the consequence of war. Hippolyta is won through battle, and it was refreshing to see a production that focused more on this aspect than the simple pre-wedding bliss of a contented couple. Indeed, between the dominance of Theseus and the reluctance of Hippolyta there appeared a darker undercurrent and suggestion of domestic violence, an unusual and uncomfortable theme to encounter in a comedy.

In an intriguing interpretation by director Dominic Dromgoole, the actors playing Theseus and Hippolyta also played Oberon and Titania – perhaps a subtle commentary on the tempestuous relationships between the couples. The Fairy King and Queen themselves, along with their supernatural cohort of spirits and pixies, embodied none of the magical charm or elegance of traditional fairy-kind, but were animalistic, coarse and clothed in an array of animal pelts, feathers and horns. Whilst this slightly disturbing portrayal gave a more sinister ambiance to the fairies’ antics throughout the play, the hauntingly beautiful fairy music (by composer Claire van Kampen) and surprisingly excellent singing by the actors themselves contributed to the sense of enchantment that is the centre of this play.

The group of Mechanicals, as expected, provided the majority of the play’s humour. Their initial entrance consisted of a comical clog dance, heard before it was seen, in which Bottom (Pearce Quigley) and Quince (Fergal Mcelherron) both hilariously attempted to “have the last word” with the final click of the clogs. Quigley as Bottom unquestionably stole the show and was especially entertaining throughout, adopting a dry and condescending attitude towards the other Mechanicals – including repeatedly “checking” Quince’s name, sometimes with the audience. It was nuances such as this that really enhanced the play’s comedy aspect, with small gestures and glances between the actors raising the biggest laughs from the audience. With this in mind, the direction and actors’ talents must really be applauded.

Nevertheless, it cannot be ignored that this show did contain a number of disappointing factors. The character of Puck (Matthew Tennyson) lacked certain endearing impish qualities, and instead displayed a rather overbearing impression of drugged up euphoria. Unfortunately this resulted in a shortage of mischievous humour, and rendered his character more ridiculous than amusing or playful. Furthermore, too many of the actors’ lines were shouted to the extent that it was difficult to hear the words, particularly in the case of Oberon. It is never a satisfying theatrical experience when the words themselves, particularly Shakespeare’s words, become inaudible.

In a conflicting combination of the excellent and the unexpected, this show sadly lacked the final satisfying impression that would incite the desire for another viewing. Nonetheless the overall performance was extremely enjoyable, entertaining and full of exuberance, and it was fantastic to gain even a small insight into the world and workings of Shakespeare’s Globe.

‘Inspiration exists, but it has to find you working’ – Pablo Picasso

Despite loving both theatre and music, opera is an art form that has never particularly appealed to me. Nevertheless, in the struggle to leap onto the first rung of that sometimes elusive-seeming career ladder, the opportunity of work experience at Clonter Opera Theatre in my own home county of Cheshire could not have been more welcome.

Naturally it is unpaid – in this day and age even entry-level positions require you to have previously worked in that exact job role, forcing you into that rather horrifying existence of unpaid work (which, of course, has to be part-time around your actual paid work so you can still afford things like food and rent). However, if you are lucky, the lack of pay won’t matter in the face of finally being in the realms of working on what you love.

Artistic and theatrical environments almost certainly promise some more unusual aspects to working life, however it’s certainly a rare and odd morning at the office when your work suddenly becomes accompanied by the operatic warbling of an unknown singer. In a venue where the offices are in a collection of attic rooms and the auditorium used to be a barn, it shouldn’t really be a surprise to come across an opera singer warming up with some scales in the tea and coffee room. Nevertheless, it is definitely a surprise bumping into one of the singers wearing a dressing gown and doing breathing exercises in the corridor – especially when said singer happens to be playing the devilish Mephistopheles from Faust!

All in all, whilst working in an arts organisation such as Clonter may come with its quirks and eccentricities, the work experience that I have gained over the last four weeks alone has been more valuable than the entirety of the past year. Indeed, a local newspaper just published a press release I wrote for the company’s summer production, aimed at secondary school children to try and promote the opera to another generation. True, the piece was printed out of context and with only my initials to indicate to identity of the writer, but having published work in the field of arts marketing couldn’t feel better for pushing my career in the right direction.

It is famously said that “opera is where a guy gets stabbed in the back, and instead of dying, he sings”. This bizarre take on the art form not only sums up the curious world of opera, but also evokes a sense of perseverance in the face of the formidable and challenging. For me, this is what is needed in the endeavour to reach my dream job within the arts industry. Lesson learnt from my time so far at Clonter: just keep working hard on what you love to do – unpaid or otherwise – and the motivation and rewards (however small) will follow.

Clonter Opera Theatre website: www.clonteropera.com

West End Musicals | The Hallé

West End Musicals (The Hallé)

Conducted by Stephen Bell

The Bridgewater Hall, Manchester – 31 May 14

Victor Hugo once declared that “music expresses that which cannot be said and on which it is impossible to be silent”. Whilst this is undeniably true (hence the continual and arguably essential existence of the music industry), without the presence of a visual performance a musical concert risks not fully engaging with the audience. This, however, was not the case with the Hallé Orchestra’s West End Musicals, one of the Pops Concerts of the company’s 156^th season.

Consisting of a diverse amalgamation of musical numbers from the West End, Broadway and several films, this concert shrewdly avoided the potential pitfall of producing only the obvious numbers from musical theatre. Whilst popular choices such as Les Misérables, Singin’ in the Rain, West Side Story and The Phantom of the Opera made up the body of the concert, it was the less well-known shows that really enriched the overall experience. The combination of some unexpected songs (from shows including Hello Dolly!, Aladdin, Chess, Carousel and Love Never Dies) and conductor Stephen Bell’s humorous anecdotes between numbers helped to retain a feeling of novelty throughout the concert, and the vocal prowess of singers Killian Donnelly and Louise Dearman added the final touch to the Hallé’s version of a night at the musicals.

Donnelly and Dearman created a strong vocal duo throughout the programme that really complimented the orchestra’s excellence. However it was the versatility of Donnelly’s voice that particularly stood out, especially in his performances of ‘Stars’ from Claude-Michel Schönberg and Alain Boublil’s Les Misérables and ‘Music of the Night’ from Andrew Lloyd Webber’s The Phantom of the Opera. The ability of any singer to credibly create both the characters of Javert and the Phantom is a rather remarkable feat. Although these two figures are arguably similar in their tortured and obsessive quests, Donnelly’s switch from Javert’s unwavering belief in justice to the Phantom’s beautifully hypnotic yet slightly sinister attraction was surprisingly convincing.

An unexpectedly exceptional piece was ‘I Only Want To Say’ from Lloyd Webber’s rock opera Jesus Christ Superstar, one of the few numbers performed without the vocalists. Instead, a single alto saxophone took the limelight in what became a “bluesy”, slow jazz version that was perfect for emphasising the anguish of the song. Indeed, the saxophone suited this piece so well it was no wonder that the vocalists were not included – words were just not necessary next to the emotion that the saxophonist conveyed.

The second half of the concert was opened with (and dominated by) the ‘Jellicle Ball’ from Lloyd Webber’s Cats, which was a dramatic shift in style from the majority of the other numbers. If anyone walked in accidently during this performance they could not have guessed that they were hearing a live classical orchestra. The upbeat and “rock” style of the number not only veered the concert away from the more classical options, but also demonstrated Lloyd Webber’s eclectic quality of composition and the highly skilled adaptability of the musicians.

In the end, the ultimate stand out number of the whole concert was the intensely stirring and powerful performance of ‘Anthem’ from Björn Andersson and Benny Ulvaeus’s Chess. Less well-known than many of the others, this song ranged from ardent patriotism to heart-breaking passion in an emotional swell that developed in a manner that truly grabbed and maintained attention. It would have served as a more than fitting finale to the whole concert!

On the whole, though it was slightly disappointing that some musicals – e.g. Chicago, The Sound of Music, Wicked – were not included in the programme whilst Les Misérables and The Phantom of the Opera were used multiple times, the quality of music and the orchestra’s proficiency more than made up for any missing numbers. Even the lack of the full theatrical affair did not reduce the overall experience; it instead created a chance to fully appreciate such a crucial aspect of the world of musicals.

Dralion | Cirque du Soleil

Dralion (Cirque du Soleil)

Directed by Guy Caron

LG Arena, Birmingham – 24 May 14

Self-described as “a dramatic mix of circus arts and street entertainment”, Cirque du Soleil promises – and delivers – performances that will not fail to completely blow you away. The renowned acrobatic and gravity-defying feats are not exaggerated, and will take you beyond simple entertainment into the realms of astonishment. As one of their twenty touring and resident productions, Dralion explores the multidisciplinary arts of the company through a magical interpretation of cultural and elemental harmony. This is a show not to be missed – if the opportunity comes your way, take it!

The show is made up of a continuous flow of acts that run seamlessly from one spectacular performance to another, keeping your anticipation on a constant high. A one-handed balancing act – raised high off the stage on a single pole – initiates the sequence of jaw-dropping numbers, followed by an exhibition of acrobatics and dance with towering bamboo poles (think of the childhood game of trying to balance a stick upright on the end of your finger, and you might get an idea of this!). Trampoline artists follow, using the set’s immense backdrop as an apparatus for both falling and climbing that will make you question the nature of gravity. And if you think sensuality doesn’t mix with the art of juggling, the Dralion juggler will definitely prove you wrong with a sinuous modern dance routine that incorporates both accuracy and flexibility.

A particularly outstanding act is that of the Crossed Wheel; a double hoop contraption that is rolled, spun and twisted around the stage. Handling it both inside and out, the artist manipulates the natural roll of the wheel with thrilling dexterity to create a fluid sequence of acrobatic flair. Continuing with the rolling theme, dralions (a fusion of the Eastern dragon and Western lion) perform acrobatic stunts whilst balanced precariously on huge wooden balls. A large see-saw is even incorporated into this act, possibly to ensure that the audience does not start to think that the gymnastic feats are too straightforward and easy. Nevertheless, a beautiful and breath-taking aerial dance suspended only by lengths of blue cloth will guarantee the dissolution of any lingering doubts.

Skipping ropes, hoops, and diabolos (the Chinese yo-yo) are some more recognisable props used throughout the show, but as this is Cirque du Soleil the unexpected is always to be expected. Rope jumping becomes “rope break-dancing”, and a skipping pyramid of twelve acrobats puts an entirely new spin on the conventional schoolyard game. Hoops are used in both an aerial capacity and to enhance the intricacies of gymnastic tumbling. The aerial hoop involving a solo artist suspended above the stage is exceptionally dramatic, most notably as the floating choreography includes hanging from the hoop by a single toe. As for the diabolos (giant spools balanced between two sticks on lengths of string), it’s difficult to believe the assortment of tricks that can be accomplished with what is essentially a child’s toy.

After witnessing this plethora of spectacle, wonderfully complemented by exotic and ethereal music, it is extremely difficult to find any flaws at all in this production. Even the presence of the three mime-like clowns (mildly amusing but definitely “cringey”), who open the show and return periodically between the acts, cannot take away from the more wondrous aspects of the performance. In all honesty, mere words are a poor substitute for the phenomenon that is Cirque du Soleil and Dralion – see it and you will understand!

Seven Brides for Seven Brothers | UK Tour

Seven Brides for Seven Brothers (UK Tour 2014)

Choreographed and Directed by Patti Colombo

The Regent Theatre, Stoke-on-Trent – 10 May 14

With theatres all over the country overflowing with new shows, it is always refreshing when an old classic from the Golden Age of Musicals makes a return to the stage. Anyone who has seen the 1954 film of Seven Brides for Seven Brothers starring Jane Powell and Howard Keel will know that a stage version of this musical has a high standard to live up to, and the 2014 touring production certainly made a strong attempt.

As to be expected, it was the group dance numbers that made this show. From Patti Colombo’s fast-paced choreography to the sheer energy and athleticism of the all-dancing cast, the brilliance of the dancing did not disappoint. The band of six brothers – yes, just six, as eldest brother Adam (played by Sam Attwater) does not participate in the dancing – were particularly strong as a group. Numbers such as ‘Goin’ Courtin’’, where Milly (played by Helena Blackman) transforms her six brother-in-laws from uncivilised ruffians into men of charm and charisma, and ‘We Gotta Make It Through the Winter’, a new addition to the musical where the brothers pine after their girls, contained powerful dancing, clever choreography and more than a surplus of heightened testosterone.

But it was the famous Barn Raising scene that really stole the show, with a showdown between the Brothers and Suitors for the Brides’ attentions cleverly amalgamated into the dancing. The never-ending exuberance of the dancers and the impressive array of tricks (including flying splits and gymnastic tumbling) undoubtedly equalled the famed acrobatic dancing of Tommy Rall and Russ Tamblyn from the film.

However, it cannot be denied that the singing was rather outshone by the spectacular dance numbers, giving this production a slightly uneven quality. Musical theatre really requires an equal standard of dancing, singing and acting, and despite Blackman’s impressive vocal performance as Milly the majority of the singing touched on the realms of forgettable by the close of the show. Nevertheless, the inclusion of both a live orchestra (sometimes not incorporated into touring productions) and a band integrated into the on-stage action somewhat redeemed the overall musical performance. The lively social scenes were enriched by the animated and folksy band music, creating the unmistakeable atmosphere of the 19^th century’s American Midwest.

So despite some slightly weak vocals and occasionally irksome elements of slapstick comedy, this production should nevertheless be commended for returning one of MGM’s golden musicals to the UK stage. As an exhibition of pure theatrical energy and entertainment, it cannot be beaten.

The Winter’s Tale | The Royal Ballet

The Winter’s Tale (The Royal Ballet)

Choreographed by Christopher Wheeldon

Live screening – 28 Apr 14

Adapting a Shakespeare play into a full-length ballet is a feat that has been achieved with great success in the past (thinking particularly of Sir Kenneth MacMillan’s Romeo and Juliet). Whilst this new production by choreographer Christopher Wheeldon is not completely flawless, the addition of a new narrative ballet to the company’s repertoire is definitely more than welcome. Live cinema relays from the Royal Opera House also seem to have become very popular, and the quality of the close-ups and excellent camera work more than make up for the absence of a true theatre environment.

Act I of the ballet is set in the kingdom of Sicilia, ruled by King Leontes, and dominated by the themes of suspicion and jealousy. In an adaptation from a play into a ballet, where words cannot be used to express the depth of a character’s emotions, the ability of the dancers to communicate through movement alone is crucial. Edward Watson’s portrayal of the suspicious king was packed with dramatic intensity; indeed he seemed more like an actor who could dance rather than a dancer who could act. It was bizarre to watch the jarred choreography for this character, with awkward contortions and spasms to characterise Leontes’ fits of jealousy. Yet at the same time it was hard not to appreciate Wheeldon’s representation of such a complex emotion, one that is often difficult enough to convey through words, let alone dance. The way the lighting design emphasised Leontes’ flashes of jealous delusion was also very effective. The moments of imagined adultery between Hermione and Polixenes were intricately interspersed throughout their dance sequence by dramatic changes in light as well as choreography, showing how Leontes only really saw what he chose to see.

Another fascinating aspect of the first act was the trial of Queen Hermione (danced by Lauren Cuthbertson), in which there was a moment of poignant similarity between Hermione and the character of Juliet from MacMillan’s Romeo and Juliet. During Hermione’s trial (where she defends herself against accusations of adultery after giving birth to her daughter in prison) there seemed to be a resemblance to the scene from MacMillan’s narrative ballet in which Juliet is being forced into a marriage with Paris. The same anguished resignation expressed by Juliet was evident in Wheeldon’s choreography for Hermione. In particular, a simple sequence of posé en pointe appeared to mirror MacMillan’s choice of steps, creating an interesting connection between the two works.

The handling of Shakespeare’s famous stage direction ‘Exit, pursued by a bear’ at the end of Act I was, however, slightly questionable. Whilst it was a relief that they did not settle for a dancer in a bear costume – which would have been nothing short of ludicrous – the use of a silken wave imprinted with the likeness of a bear face descending towards Antigonus was just too indistinct. Indeed, until the image of the bear became more discernible it seemed that Antigonus’ demise had been rewritten, and that he had in fact been drowned by a tidal wave in the storm. Even so, the attempt to add a sense of ambiguity to what can become a comical rather than dramatic denouement to the first act should be applauded.

The stark contrast between the set designs in Act I and II emphasised the story’s focus on the mercurial relationship between the two worlds of Sicilia and Bohemia. The bright colours of Bohemia provided a sense of relief following the bleak and minimalist Sicilia of the first act, and designer Bob Crowley certainly excelled with his incorporation of a single large tree adorned with decorations to preside over the pastoral festivities of the shepherd community of Bohemia.

Throughout Act II it was the dancing itself that was particularly outstanding (as it should in a ballet!), with exhilarating folksy numbers by the corps de ballet and a beautiful pas de deux from the characters of Perdita (Sarah Lamb) and Prince Florizel (Steven McRae). The more modern style of Wheeldon’s choreography really shone here as it brought a freshness to the typical story of young lovers, as portrayed by Perdita and Florizel. McRae’s performance was especially magnificent – his elevation throughout Act II really brought the scene to life. The inclusion of a live band on stage was also a noteworthy addition, creating a more spontaneous feel to the Bohemians’ festivities.

In contrast, the final pas de deux between Leontes and Hermione (once she is “magically” restored from a statue) has been critiqued as an anti-climax and lacking the enchantment of Shakespeare’s words. However, it appeared more as a simple yet evocative duet that stood out in the midst of a final act that seemed rather rushed compared to the more lengthy preceding parts. In all honesty, it seemed that this pas de deux eclipsed the rest of the act – even the celebratory wedding dance (normally a high point within a narrative ballet) for Florizel and Perdita felt disappointingly brief.

On the whole this new work is an intriguing reworking of a very complex play, and the production of a new narrative ballet is truly exciting. Whilst the often dissonant tones of the music made the score sometimes difficult to listen to, and the choreography incorporated more flexed feet than is customary in a ballet, the dancing was, as ever, beyond stunning. Despite a few disappointments this is a show worth seeing, especially if you enjoy beautiful dancing or powerful storytelling – and this ballet has both.

Dancers Among Us by Jordan Matter

“Dancers are storytellers. They’re trained to capture passion with their bodies. They often create a fantasy world or offer us a deeper look into familiar settings. They bring to life what we feel but what most of us, lacking their artistry and athleticism, are unable to express physically” – Jordan Matter, Dancers Among Us (New York: Workman Publishing, 2012)

Whilst photography is not an art form that I have spent a lot of time exploring, I was completely swept away when I discovered the Dancers Among Us collection by photographer Jordan Matter. Assembled into a book that became an instant New York Times bestseller, Dancers Among Us presents a compilation of moments frozen in time that express the unique beauty that is both dancing and living. Not only do the photographs display the wonderful capacity of a dancer’s body, but they do so in an unexpected place – everyday living. This inspirational combination of dance and life reveals the constant presence of creativity and exuberance in the mundane, and in such a way that can help you to overlook the impermanence of life.

The collection in its entirety is huge, so I have decided just to share my top ten favourite photographs in the hope that more people will go on to enjoy the rest!

(All copyright to Jordan Matter).

10. Broadway Bound – New York, NY – Michael Cusumano

I think anyone with an interest in the performing arts has envisaged themselves performing onstage for a career, so I imagine this photo would appeal to anybody who has had that dream (or been lucky enough to make it a reality!). It also seems to represent the idea that there is always the possibility to find art in other aspects of life, and you can still be a performer even if even there is no one there to watch.

9. Forgive Me – Atlanta, GA – Tomas Panto

The intensity and darkness of this photo – especially in comparison to many of the others in the collection – is what gave it a place in my top ten. It definitely moves away from expressing the joy of dance and instead focuses more on the ideas of anguish and pain. It goes to show that dancing can also be a means of conveying and releasing the more difficult emotions in life.

8. Nyack, NY – Rebecca Balbach, Kimberley Morris, Marianna Russell

Even curling up with a good book is an art in itself!

7. Surrender – Baltimore, MD – Rachel Bell

I find this photo quite literally breath-taking. The precarious position of the dancer definitely kicks in my fear of heights, but it goes to show that taking risks and letting yourself be vulnerable is sometimes worth your while (whether that’s in achieving a life goal or hanging off the edge of a building to get the perfect shot!).

6. Brass Ring – San Francisco, CA – Sharon Gallagher

Whilst the blurred effect of this photo make it difficult to look at for more than a few minutes, it had to go in my top ten simply for the elation that the dancer exhibits.

5. Stepping Out with My Baby – New York, NY – Gus Solomons Jr, Carmen de Lavallade

I feel that this photo has a very clear message – life goes on, we all grow old, but that doesn’t mean that pleasure in life has to stop. Whether their pleasure is in dancing or the company of the other person or both, I love the image that this couple is portraying.

4. Prince Edward Island, Canada – Jamie Stark

The contrast between the mud and the elegance of the dancer en pointe is what makes this photo one of my favourites. I think it completely destroys the notion of ballet as a pretty, fragile past-time for little girls and instead shows it for what it is – a slog through physical pain and exertion to present a constant exterior of ease and beauty.

3. Moonlight Sonata – Miami, FL – Eric Bourne, Christina Ilisije

So this photo is in my top three as the “romantic one” (there had to be at least one, after all who can deny the relationship between dance and love?). There is also the depiction of complete trust in the other person – an unspoken requisite for both to be successful.

2. Taken – Sarsota, FL – Danielle Brown, Octavio Martin

I love the image of the female dancer surrounded by the multitude of birds in this photo. To me, it expresses the freedom and abandon that you can experience through dance that is often a rarity in life.

1. New York, NY – Billy Bell, Parisa Khobdeh

A number of elements make this my favourite photo of the collection – the use of the New York Public Library as the background, the perfect penchée by the male dancer, the moment of romance captured in one pose … and the family group next to them who seem completely unaware that they are in the same shot (is this possibly the ultimate photo-bomb?!). On the whole, I think this one really hammers home the tagline of the whole collection: a celebration of joy in the everyday.

‘Life is like dancing: it’s good to have a plan, but be prepared to improvise’ – Anonymous

The ability to improvise around your plans is an essential skill amidst the trials of graduate job hunting, especially in such a competitive and limited industry as the arts. About a month after graduating last summer I developed a fairly simple (and I thought reasonable) plan: get a job in Arts Administration. Seven months on and I have just concluded a three month internship at Lancaster University … in Project Management Administration. This slight deviation from the artistic route may have been unplanned, however after spending several months amongst the tidal wave of highly qualified and over-experienced job-seeking graduates I have learned that you often have to improvise along a side route in order to keep on the intended path.

The internship was actually set up by the Careers department at the university as an opportunity to gain additional working experience in a real-world environment, so there was some method behind the madness. After an unsuccessful attempt to situate the internship in the LICA department (Lancaster Institute for the Contemporary Arts), I was placed in the Facilities Division with the assurance that my work would still incorporate an artistic focus and, fortunately, two of my four assigned projects did.

These two projects provided me with stimulating and challenging opportunities to work on actual assignments within the Facilities Division whilst still engaging with the arts – ideal circumstances considering I was not based within a more artistic setting. My favourite project was undoubtedly the investigation into the need/demand for new outdoor performing arts spaces within a remodelling of the university’s central walkway (fondly known, or maybe not so fondly, as the Spine). From early on in the project there was a particular emphasis on the correlation between performance and community, an aspect that highlighted the arts as a means of fostering relationships and drawing society together – let’s face it, the arts are even more enjoyable when you can appreciate them with someone else! This project also brought me into contact with the LICA department, including representatives of the arts organisation Live at LICA. I could not have asked for a better connection, as the association eventually led to shadowing opportunities with the Box Officer Co-ordinator and Marketing Assistant (both of which have definitely increased my desire to work in the arts!).

My second arts-based project revolved around producing a project proposal for a campus sculpture trail. This was especially interesting as, despite having studied at Lancaster University for three years, I embarked on this project completely unaware that there were any sculptures on campus in the first place. It didn’t take long to discover that this lack of awareness was widespread amongst students and staff alike, so I felt that the project was key in contributing to the cultural awareness at the university. I think my favourite part of this project was discovering the apparently random concrete carving of a tree (that I had passed almost every day during my time as a student) was actually a sculpture inspired by the myth of Daphne and the laurel tree – a myth I had learned about through my literature studies*. This project therefore proved to me that arts and culture can always be found unexpectedly, whether it is in the features of a place you thought you knew or in an unforeseen and unplanned job opportunity.

* For any readers who don’t know, in Greek mythology Daphne was the personification of the laurel, a tree whose leaves (formed into garlands) were particularly associated with Apollo. Daphne lived a pastoral existence, and when pursued by Apollo she prayed for help and was transformed into a laurel. Apollo appropriated the laurel for poets and, in Rome, for triumphs.

Live at LICA website: www.liveatlica.org

‘All the world’s a stage’ – William Shakespeare

So, quite obviously, this wonderful quote by Shakespeare has inspired the beginnings of my arts blog. The stage has always been a place where I have felt happy and secure (as I’m sure many other performers will agree), so the idea of the whole world as a stage both thrills and reassures me. Despite no longer frequenting the stage myself, my passion for the arts – specifically dance, theatre and music – has not been stifled or extinguished, and I now plan to use this blog as a means of continuing to express and share my interest in the arts.

As I am fairly new to the blogging scene I am going to leave this first post as a simple introduction and experimentation of my blogging abilities (short and sweet apparently!). I hope there are some readers out there who will enjoy what I have to say. Happy reading!