Painting with the body

Third year BA(Hons) Jewelry student (Jarrod McCracken) is using a painting created by myself and a HCA dance student as a basis to create his Final Major Project work, which will be displayed as part of the Summer Show at Hereford College of Arts in June 2017.

Together with a dance students I moved to Gabrielle Roth’s 5 Rhtyhm’s with black ink to begin with. Guided by Jarrod we then started using coloured paint, as well as focusing on very specific pathways. To end the creative painting session we used powder paint.

Small is beautiful: the case for working in a small, specialist institution

 

The dominant conversation around HE tends to take the position that providers are large, research-intensive institutions. Here, Gillian Hipp and Mia Gordon, Performing Arts Course Leaders at Hereford College of Arts argue the case that working for a small, specialist institution has particular advantages, including academic freedoms and a lack of disconnect between practice and scholarship. This argument makes the point that working in a small, specialist institution:

  • Allows you to be a practitioner, as well as an academic
  • Enables you and your students to be flexible and collaborative between disciplines
  • Has an integration with community which larger institutions may lack

When working for a small organisation it is easy to consider bigger HEI’s from a ‘grass is greener’ perspective. However, we feel incredibly fortunate to be working at Hereford College of Arts. The smaller institution enables an ethos of placing emphasis on the individual students that allows for their learning journey to develop into the direction that reflects their ambition. This mirrors the way in which staff are seen as individuals; each having their own ambitions and career journey. Emphasis is placed on us as teaching staff to engage with academia and being academic, but equally we are asked to be practitioners in our own right and in our own discipline. It can be argued that in some larger HEIs there is a perceived disconnect between ‘academic’ and ‘wider community’ .Academics may feel a separation and division between themselves as academics within academic establishments and the non-academic world – the non-academic world even being sometimes referred to as the ‘real world’.

As ‘academics’ ourselves (if a label is necessary) we find this notion of being divided and separate from the real world difficult to comprehend, but is this because we have engagement with our practice on a regular basis?

We are encouraged by the fact that HCA provides a place that combines academia and practice. As members of staff we are given the opportunity and encouragement to research, engage with academia, write papers and speak at conferences. We are equally encouraged to connect with our discipline as practitioners. This allows us to be creative and have an embodied sense of the discipline that we share with our students.

Working for a larger institution might have certain merits,  however conference experiences suggest, firstly, dissatisfaction within HE staff from larger institutions can feel at wanting to set up internal collaborative projects, but unable to find a way to do this. secondly, wanting to give students meaningful ‘real world’ experiences, yet struggling to collaborate with external agencies. This is, of course, not always the case, and some very good and inspiring examples of external collaborations are clearly taking place in some institutions across a range of departments and disciplines.

At HCA we do not have a problem in finding local and regional employers who want to collaborate with us; nor do we have any problem in facilitating cross-discipline collaboration at course level.  In fact, we find ourselves collaborating with multiple courses at the same time on the same project, that allow students to have an ‘in house’ real-world experience…although, of course, it is questionable what the term ‘real world’ actually means.

Our recent conference conversations have suggested that, if anything, collaborations which appear par for the course for HCA are considered fairly radical by staff from larger HEIs.  Such conversations have also caused us to reflect on our students behaviours – our experience at HCA suggests that the students themselves feel empowered and motivated to engage in collaborative projects without staff ‘introductions’ outside their curriculum-based work and within their first year of study. Therefore, whereas some larger HEIs feel that they are not preparing their students for the ‘next step’ of being independent (and perhaps entrepreneurial) individuals, we are giving them a head start with the skills and mind-set that will equip them for this so called ‘real world.’

And, let us critically question this idea of the ‘real world’ anyway. Is this something detached, apart from the institution? We would argue that we already have an integrated ‘real world’ within HCA and  we are proud to be part of this creative, innovative and inspiring environment in which students are given the space to develop their personal creative identity within an academic course and hone their employability skills through engagement.  On a personal level, that same ethos allows us as staff to grow and be who we are, without any labels to limit our academic practice.

One particularly  positive feature of our environment is our close relations with the wider Herefordshire community. In some larger establishments, there appears to be a clear feeling that division exists between ‘town and gown’. Beginning as an FE institution, part of HCA’s identity and close connection with Herefordshire comes from our institution’s roots. The FE provision allows there to be a clear sense of community from locally and regionally recruited students, as well as giving the college a clear value within the community through student success, live briefs and collaborations.  The college is firmly part of a wider community of shared interests, ambitions and aspirations.

Whilst there are clearly many tangible benefits of working within a bigger HEI we feel that there are also many (maybe less tangible) benefits from working within a small institution. HCA certainly allows us to work in a dynamic and responsive way, adapting to the ever shifting ‘real world’ we find ourselves in, which is creative and inspiring most working days. Therefore, we feel that in this instance small is beautiful.

by Dr. Mia Gordon & Gillian Hipp

3000 chairs – performances

The last couple of weeks have been busy with preparing for the 3000 chairs performances taking place at the Hay Festival on 28th May and 31st May. Both performances sold out within 6 days!

The collaboration between Director – Claire Coache, Writer – Nicola Davies, Set Designer and Illustrator – Andrew Graham, Costume Designer – Meg Swancott and the Performing Arts students – Annie Grainger, Tommy Ryan, Andy Sims, Molly Glover and Bethan Parry has been a journey of creativity, making something out of nothing20170511_102552.jpg, learning and discovery.

Problems arising along the way have been dealt with quickly…such as the technological hitches of not being used to using a Mac-book, and the white screens on which a tree kept on appearing from underneath the paint!

The collaboration has been a very organic process throughout which ideas have developed within the structure found in Nicola’s poem ‘The day war came’.

Movement material was developed using chairs and then big cardboard boxed and overlaid with script and illustrations.

This was followed by the overlay of musical accompaniment.

Andrew Graham also created an animation video, with my very own Ada-Lana voicing over:

https://www.youtube.com/watch?v=qd83qROAG8M

Audience members were visibly moved by the performance today and made their way to the ‘Make and Take’ tent to create, sketch and draw pictures of a single chair. These images will be auctioned in 2018, as part of Nicola Davies book launch to raise money for the child refugee crisis – in particular the funds will be directed to educational work in refugee camps to enable children to continue their education.

 

 

Research findings into practice

Over the last few weeks I have been working on my literature review, which has involved over 80 hours of reading, thinking and making sense of all that I have read in writing.

A side effect of working on my literature has been to question how what I am reading relates to how I do things. Much of the reading has been around well-being. I am now more aware of what the research says and ways to improve well-being. I am actively trying to implement some of my findings directly into my daily life. The biggest change so far has been around walking.

Research suggests that walking at least 10000 steps a day is good for you. Further research highlights the positive effect the use of Fitbits had on a company. My daughter and I now both own one and in the past 14 days our step count has doubled…in my case tripled from the steps we walked prior to having a fitbit. It helps that my 12 year old daughter and I have a competition going on between us, which results into us walking (or in her case) running from one place to another without necessarily needing to, simply to overtake the others step count. So far we have experienced lots of fun with the fitbit and I feel that my energy levels have improved. This is making me want to be more active….which can only be good for my  well-being. It is as if I have reconnected with my body, after months of not connecting. I am more than ever aware that in order to connect one has to move and change the rhythm and pace.

The other thing that the fitbit has done is to encourage me to set myself goals, and with the quanta time data that it feeds back to me on a daily basis I am able to track my progress. I am now training for the three peaks challenge…which I also feel is a great metaphor for life. If I am able to climb the three highest mountains in the UK in 24 hours, I do think I can do anything that I put my mind to…mentally or physically or both!

More findings will be explored, I am sure, as my research continues….

The day war came #3000 chairs rehearsal

IMG_-m185zxThis week we have been playing with the chairs. Using Gabrielle Roth’s 5 Rhythms the performers have improvised with the chairs as individuals. I then encouraged the performers to play with the rhythms and the chairs as a group. Very quickly some fantastic material has emerged:

  • moving as a group
  • moving the chairs in different ways, eg. rolling underneath them or next to them to move them through the space
  • Pushing the tipped over chairs  – the idea of a barrier came to mind when watching
  • Manipulating the chairs, so that they look like humans marching
  • The chairs are no longer an object but a living object that the performers have a relationship with
  • floating chairs balanced on the feet of the performer3000 chairs

Through another playful task, Claire Coache (Artistic Director from Open Sky Productions) and I asked performers to show us what other objects the chair could turn into. Many ‘objects’ were related to things one would find at a playground. A very effective seesaw was created.

The performers soon became very playful themselves and were playing in their self-created obstacle course, which consisted of the performers stepping from chair to chair.

This stepping from chair to chair soon emerged into a way to travel from one side of the room to the other, which was then complicated by the fact that one chair was ‘roasting hot’ and as such the performers soon found ways to avoid the chair or to only stay on it for a limited amount of time.

The rehearsal continued with Claire taking the lead. We revisited the poem by Nicola Davies and identified the various sections that will need to be covered in order to tell the story. A rehearsal scheduling exercise was followed by a short improvisation task around the war ‘arriving’ at the school to generate material. We played with the use of sound that was progressively getting louder as the war neared the school.

More in the next rehearsal….

The Dancing Floor Project

Since September 2016 I have been working with Author and Director Lyn Webster Wilde on developing a magical choreography for her Film ‘The Dancing Floor’.

On a monthly basis we have been meeting in Hay-on-Wye and inviting locals who are interested to move and take part in the project to join us in experimenting and creating movement material.

The choreography is based on a creation story from the Mabinogion and approaching the choreography I have taken much inspiration from Laban’s Movement Quality theories, Celtic symbols, Animal Study and Morris Dancing.

The participants have been introduced to 5 Rhythms as a means to warm-up, but also become aware of the different movement qualities that the various rhythms might hold. Much work has also been undertaken in introducing participants to the idea of using Complicite as a way of being in a space together and responding as a group rather than an individual.

For one rehearsal during the experimental phase we were fortunate enough to have an accordion player at hand, who accompanied the ‘Morris dance section’. This particular section although drawing on the ideas of a Morris dance, has been approached from a different angle also. Celtic symbols have been used as a starting point to create and develop the floor patterns that the six performers will use. The most complicated looking  Celtic knots were performed today for the first time, with ease and to my absolute surprise without anybody walking into anybody else when transitioning between the various points of the knots – in fact the result was stunning and will definitely find its way into the end choreography.