Holly Clark reflects on her 3 day remote Hatching Residency in Winter 2020
I am Holly, I am a theatre maker based in the West Midlands. I took part in a 3 day digital Nest residency. It was to explore a new solo show idea about being dyspraxic and neurodivergent. I knew I wanted to use movement in the piece (as it is known as the ‘clumsy syndrome’) to celebrate the way I move and also to highlight parts of dyspraxia and for it to be autobiographical.
My first talk with Janet about my piece, theatre, and about lockdown was so refreshing. As we know due to the pandemic, this was a rare experience to talk about art and ideas with someone new. I came away with inspiration and ideas and actually put in an Arts Council bid off the back of it. I also tried some ideas and thoughts we had created and discussed.
I then got really stuck. I found making and creating at home really uninspiring and the things I was making didn’t feel right or of any quality. I was getting in my head about it. I was regularly doing automatic writing and trying to imagine what the work could be.
The chats with Janet each time were encouraging and sparked new ideas. She gave me articles on how to reinvent the daily walks and focus on things other than the work in order to relieve the pressure. It worked. I let go and just tried to generate rather than analyse.
I actually got the Arts Council funding for an R&D for the piece. Those three days allowed me to have time and pay to do it. Even though work that was made didn’t go any further it laid the groundwork. The conversations with Janet helped spark ideas of what the piece has begun to be and helped shape it.
It was such a valuable experience to have the mentoring time and support. I encourage you to apply to be part of the programme.
Alex Hilton reflects on their Remote Nest Residency:
For my nest residency, I wanted to explore reimagining work, using a framework of mutual space
So many inequalities exist in access to work, and so few people feel they have the space to be themselves at work. At the same time, so much work is extractive – creating pollution, contributing to climate change, contributing to inequalities, reducing the space for other beings to flourish in the world. What would it mean for work to be spacious for the people doing the work, and space-creating for wider society and the ecosystems around us?
I’d been thinking about these issues for a while, related to my own jobsearch as an autistic person and my concerns about environmental issues. My housemate suggested that art would be a good format for exploring these issues in a broader way.
As a new artist, it was wonderful to have the space to explore my ideas which the Nest residency provided. Initially, I really noticed how nervous I was about the project. Would I write the ‘wrong’ thing? Would what I made ‘count’ as art? This felt the opposite of spacious. But once I got into the flow of working, I found it easier.
I thought about how art could be used to communicate that elusive sense of how mutual spaciousness would feel when you haven’t experienced it. It can often be easier to see what’s wrong than to see how it could be right. So I thought of the role of art in imagining and inspiring the best of what society could be. This feels especially relevant in the year of the pandemic and the need to reimagine what a better future could look like.
Janet was really supportive and it was really helpful to talk through how the work could be developed. We settled on creating a postcard prompt to get contributions for a future zine/ exhibition. Janet introduced me to Andrew Moore, who helped to create a design for the postcards which really got my ideas across and was eye catching.
I’m hoping to get contributions and include a wider range of voices in a zine/exhibition later this year exploring reimagining the best of how work could be.
Imagine Spacious Work is an art project to make a zine and exhibition on the topic of re-imagining work. This will happen in Coventry in Summer 2021. We’re looking for creative contributions on the theme of re-imagining work. This includes paid and unpaid work, childcare, homemaking etc. If you’d like to contribute writing, drawing, audio or video on this topic please get in touch via ImagineSpaciousWork@gmail.com
Being a musician for many years, I’ve often witnessed Discrimination on many levels, and I thought if I could turn this into a play, theatre piece this could be good. For me it had to be done very differently to what I had seen on stage in the past, it would need to grab people’s attention, make them sit up, be involved somehow – and then of course go tell their friends, post on social media to get more people to come and see.
So the idea came and a few days later a friend posted online about ‘Talking Birds Nest Residency’ I had an idea that needed exploring, researching, bouncing around, talking through with a few theatre professionals. I grabbed my tablet made a few videos, picked the one I thought described what I wanted to do best and I applied for the scheme.
Tick tock time went by and one day I see a reply from them, my heart starts beating faster, getting anxious, scared of opening the email I put the kettle on and made a coffee. Grabbed one of my drums to feel calm again and 2 hrs later I slowly took my mouse, clicked on the email . . … Nearly fell out of my chair with the biggest grin, I got it! No Match Funding needed! I was going to be a Nest Resident, and so it started with a meeting with Janet and Derek. To be honest I couldn’t believe it, but they believed in me to get this started.
‘When Instruments come to Jam’ has at its heart the idea of using instruments as a metaphor to show discrimination on many levels. So I started to focus on the conversations instruments would have if they communicated with each other, (as humans would) the fun, laughter, judgemental, good/bad thoughts, gossiping, sarcasm, joking around and then of course discriminating!
I’ve not written a play before, so Talking Birds they got me a meeting with Ola Animashawun to help me start to sketch out the story I wanted to tell – this was a chance for me to start sounding out my ideas with a theatre professional/dramaturg, and for me this was again all new territory. Within a short time I’d realised there was a lot of work to be done by myself – he left me with provocations regards my idea which going forward would help me structure my idea/my play. I had conversations about my idea with musicians and animators and they all helped influence the way the idea shaped up.
About a month later my partner and I were off on a short break to Bulgaria (sadly not part of the residency!), the weather was great and I found this wonderful beach bar. The laptop came out and for the first time I was inspired to start writing the beginnings of ‘When Instruments come to Jam’, for some reason the beach bar provided the perfect conditions, the sea, sand and gentle breeze.
How do you write about ‘discrimination’? It’s simple, you draw on your very own experiences from the first day at school to today! Remarks about colour/size/abilities/being too good/being too bad/ethnic background/standing up for yourself/for your friends/not being white! And to be honest not all was that bad – especially because most remarks/insults around ethnic background were wrong (for some reason very few people could actually truly insult me about this since they never take the time find out what my ethnic background actually is!)
Transferring this to instruments at first was difficult but then surprising enough started to become easier as even instruments have a make-up. Colour/size/background/abilities/the sound they produce/presence and they too have feelings. It’s hard to explain that although music has no barriers, the musicians choose to put up barriers.
As the title says, the story starts ‘When instruments come to Jam’ – although I have an idea of how the story plays out, I want to develop it collaboratively over time, maybe once a week with an open call to musicians to attend; building up a group producing great music regardless of knowing or ever having played alongside each other…. that’s where the trouble starts!
Without this Nest Residency, I would not have been able to get started on this project – the funds and support allowed me to schedule time in to my work specifically for this project/idea, think about why I wanted to tell this story, and who it was for. Being a full time musician means I have to generate my own income and anytime spent on ideas, looking at new projects in my own time would mean I’m not earning. The Nest Residency meant I could afford to spend time on this and explore this idea of mine: contacting artists, writers, audience development specialists. I wanted to see if, firstly, this kind of delivery has been done in theatre, have instruments been used as a metaphor and the main point was would audiences be open to a play without spoken words and just music? I’ve spent a lot of time wondering, experimenting, and being ‘brave’ in order to develop the idea further.
The next step for this project has been to apply to (and be shortlisted for) the We are Unlimited/City of Culture Trust commissions, taking this to the next level of applying for an Emerging Artist Award in theatre. My time as a Nest Resident exploring this idea needs to end to move forward. I’d like to thank Talking Birds for their time, guidance so far and hope that we’ll continue this on the next step as it starts to take flight . . .
From November 2020 i collaborated with T, this experimentation did not go as planned because of external factors (pandemic, family challenges, uncaring processes, race, gender, ableist dynamics…) and internal mechanisms within our exchange on which i am about to expand audio-visually and verbally in this performative sharing.
i am including some of the correspondence emanating from me in the blogpost as a sort of a mixed modal and fragmented essay. You are invited to take as much and as little as you wish from this buffet. The video shows me reading the letters i delivered to T for the first time. There is an audio version of it as well that i recorded on my phone simultaneously for those who have had enough screen for the day. The tone of this entry is self-reflexive but it is not only a sharing of feelings and post-collaboration analysis but also just a sharing space. Only unedited documents are shared, because i believe in the force of self-exposure, i believe it tells a lot about the context and the re-contextualisation of creative processes and about oneself. Welcome in the bits and pieces of a ‘process that went wrong’ and made me grow on multiple levels.
As i am solely elaborating from my proudly subjective perspective my last Nest residency has been a much needed grounding work on collaboration. It literally brought me down, and pushed me to my limits. Reflecting on it i am grateful it happened yes if i were to choose, i would do it in similar ways again.
i have tried to collaborate outside of my political practice and it ended up in exhaustion. i wrote to my collaborator in one of my correspondence: ‘i was exhausted before (anyway)’.
In the context of a global pandemic and under lockdown restrictions adding up extra difficulties to a state of things already hard to navigate in was a doubtful choice that guided me to learning more about my limits.
This collaboration beyond the initial excitement quickly turned out no longer serving me but rather weakened a friendship, my mental health and future possibilities to collaborate as a free spirit. In one of the letter i regretted that i did not : ‘appreciating the distance between us. Same city, different contexts, different bodies.’ prior to this experimental process.
i got trapped in the process:’there is no start nor ends just complexity’
Can setting up new collaborations be taken lightly or ahistorically? My current self would reply with the negative to this question. Power forces have been neglected in this experimentation. My only desire was to stop worrying, stop caring about my collaborator, stop the guilt of not caring as i should, just stop. Stop, observe, and learn from the unfertile ground from which we started and from which we did not manage to grow a healthy exchange.
That went wrong because that was wrong from the beginning. Consent checklist, management of expectations, and regular checking that the other part does understand your struggles, needs, and claims are essential for me even more so now.
This experience has furthered my understanding of myself, reasserted the importance of informed consent when collaborating and highlighted my limited capacity to expand emotional labour here and now. Which is a shame but it is also the ugly truth of what it is. Reflecting on the process and gathering some thoughts has proved to be helpful to start to repair and look at this scar right in the flesh so far. i take away my need to say no without solely pondering the validity of my need on consensus to be able to stand still. i use my practice as a liberating force, i understand better that there are deviations that i should not take if they do not bring joy.
i dis-placed one of my hair jar at T’s home during the creative process. When it came back i started to gather my strength back.
During this period of investigation we have sent threads of thought and element of practice to one another that ended up in a nonsense collection of letters and things that mismatched with each other but did narrate our impossibility to collaborate. i had extreme difficulties making peace with the imbalanced exchanges, and my refusal to self-censor. The issue was that refusing to self-censor did not help the other half of the research to feel welcome nor to find ways to play in the process.
My love goes to Talking Birds to Janet and Philippa for their kindness and never failing support and to Dr. Bharti Parmar and Janet again for gentle and transforming mentoring sessions. i am sending love to my collaborator towards whom i directed a spectrum of feelings and thanks to whom i learnt to appreciate failure and found joy and contentment in unexpected spaces and challenging times.
Talking Birds is looking for illustrators and/or print-makers for a small series of planned commissions related to The Nest, which will be the company’s new home and shared making space from 2021.
At this stage, we are looking to create a small pool of interested illustrators and/or printmakers who we will then invite to apply for these commission opportunities.
Talking Birds is particularly interested to hear from illustrators and/or printmakers: – who live and/or work in Coventry or nearby; – who self-identify as belonging to an under-represented or marginalised group; – whose work lends itself to screen printing in one or two colours only.
A bit about you (How to register your interest)
Please email TalkingBirdsCoventry@gmail.com and tell us a bit about yourself, your interests and your work (in roundabout 500 words) & include links to up to 5 representative pieces of your illustration and/or print-making work. From these submissions, we will select a number of artists to whom we will circulate commission briefs when they become available. Please note that the deadline for expressions of interest is December 10th 2020.
A bit about us (Who *are* Talking Birds anyway?)
Coventry-based Talking Birds is well known for its innovative and gently provocative projects which explore, and seek to illuminate, the profound and complex relationships between people and place.
The Nest will be Talking Birds’ new home and shared making space which is due to open next year during Coventry’s year as UK City of Culture. Since 2018, Talking Birds has been running the Nest Residency Programme (which offers time, space and conversations that allow artists to think, experiment and take a punt on one of those ‘What if…?’ ideas) peripatetically while the building work continues.
We are a signatory to the More Than A Moment pledge and, as such, wholeheartedly commit to ensuring equity, investment in, and opportunities with and for Black artists and creatives within our organisation’s culture and work, and in doing so becoming the change we all need to see.
Have you ever thought about the concept of ‘throwing away’? Neither had I, until I had a very interesting Google chat with Dominic of Ludic Rooms (a company based right here in Coventry). The gist of the conversation came from this concept of ‘throwing away’? What does this even mean? Where does all this stuff go? Stuff just moving from one to place to another. To quote Jerry Seinfeld, ‘all things on earth only exist in different stages of becoming garbage’. I pondered this on one of my now regular walks along Coventry’s Canal path. I had not long discovered the small minority in the city who ‘magnet fish’ in the murky waters. What on earth is that, you may ask? I indeed had the same question. The man made canal, built for the purpose of transporting/exchanging goods from county to county and once functioning as an additional life line to the city, has now become somewhat of a dumping ground of antiques and lost treasures but for the most part, a passing place of plastic and takeaway boxes. This bothers, but the silver lining is Coventry’s up and coming rise and it’ll be interesting to witness the Canal’s placement in all these developments.
Having these interesting and dynamic conversations with Dominic about Coventry’s relationship with water formed a unique focal point to explore – as for the most part Coventry is pretty much land locked.
On a not so particular day, I walked out of my front door and realized that I just about walked every direction out from my front door. I then remembered the entry to the canal – bridge number five to be specific. Off I went and set off for a new adventure. It was around about midday that I realized everybody and their mother was outside using their government issued hour – so it was not so much of the solitary walk I’d envisioned, but on that given day that’s exactly what I needed. Like a radio frequency all the bars within me had gone from red then slowly orange/yellow and just like that, green. The spring in my step restored as I gazed upon the boats, whistling with birds, dodging fast paced cyclists in balletic pirouettes as if living some sort of alternate musical reality.
The feeling didn’t last too long as I approached the long and dimly lit tunnel towards Gallagher – did I mention it was long? The solitude I’d initially hoped for somehow became very apparent. Then I saw the light at the end of the tunnel and kept moving. I began to think back about how I discovered the Canal, it was about two years after we’d moved to the city. It’s an easy miss but there’s a life force of its own that runs underneath the city. Back then the waters were clean-ish (well there wasn’t as much rubbish everywhere). Though this first walk was initially relaxing but the rubbish was always drifting in the corner of my mind.
A few months later, my sister and I took a walk in the opposite direction on a sunny day. The clear blue sky reflecting in the man-made waters, ducks in a row flowing in a steady stream and somehow coinciding with the piles of takeaway boxes, plastic bottles, foil paper and blue off licence bags.
One object in particular called out to me the most and I thought it’d be really interesting to explore the Canal for my Talking Birds residency. Particularly the scattered blue bags from off licence shops and Coventry market that have somehow found their way to waters. Blue in association with water usually represents serenity but the murky waters of the Canal were anything but, as the blue drifting around posed a looming threat for all the natural creatures trying to cohabit with the trash in this space.
Walking along and also noticing the reflections and shadows cast in the water inspired me to further explore the Canal’s essence.
Though scenic for the most part and providing a sense of ease and solace with a gentle movement of current, every so often that is disturbed by litter. Beer bottles, takeaway boxes and strikingly blue off- licence plastic bags (which I found particularly interesting as blue is Coventry’s color and often associated with water.) I explored this further – particularly in how the nature of the canal has adapted to this.
The materials used to create the puppet were a blue off licence bags with a plastic water bottle (magnet) fished from the water to create the bodice, synched in with the cuff of a Culture Coventry uniform.
I then painted a background of hues on foil paper that feature a silhouetted crowd representative of the people of Coventry.
To add to the final layer of the piece- I used a blue marker to draw some of what Coventry is best known for, for example-: the statue of Frank Whittle, the logo for Coventry FC, Lady Godiva’s statue and an Outline of the Coventry Cathedral.
It was crucial to use materials that would cope with being submerged and not affected by the water- much like the litter found in the Canal.
Filmed with a highlighted plastic bottle lens cap to create a filtered effect whilst in a way symbolically filtering Canal waters and revealing the beauty of the city. I hope to further explore this project with the help of the amazing Talking Birds company with the first flight residency and collaborating with Ludic Rooms. My aim is to help clean the canal, magnet fish and create sculptures from what I find in the water and rebuild the art trail. Time to to unclog our cities vessel and clean up the Canal!
“There is just wonder right in front of us, and we don’t spend enough time thinking about it.” — Michael Pollan
My artistic practice heavily involves the exploration of shadows, reflections and silhouettes. I’ve always been draw to these elements because that is the only way we can physically view ourselves. On a bright sunny day your shadowed figure mirrors your movements in synchronicity and is always right behind you. When you look at yourself in the mirror it is merely a reflection of you but somehow we’ve become accustomed to how we view ourselves this way.
As Coventry is formed of different energies, cultures and communities – I began to view the city more like a body and how the canal is a vessel. I began to value its importance and need for it. Spending a lot time around the canal has made me become consciously aware of its unconscious clogging. The level of plastic is suffocating to the environment. To detail my process: I knew I was searching for a solution and there were all these pieces of the puzzle hovering in the air, waiting to be put together. The canal is forgotten. The Art trail is abandoned. Almost as if the pieces of it were drowned in the water.
On a now regular walk along the canal path- I took my scooper and reusable bag and began my first round of magnet fishing. I picked up a lot of treasure – a blue off license bag, a plastic water bottle, foil paper, cling film and many other items but these in particular are the ones I decided to use.
Initially I had aimed to show reflections of the canal on iconic structures in Coventry (and I still might) in hopes of commenting on how, as ‘the body’ of Coventry, we view the city. I then came up with the idea of drawing iconic landmarks and statues of Coventry on cling film as I’d seen a lot of its scrunched presence surrounding the waters. I took a liking to the transparency of it but when I tested the sketches in the water, I realized that it was mainly the base of my tub that was bringing out these images. The practicality of it became unfeasible at this stage because one wouldn’t be able to see the projected images.
It was around about this time the foil paper stuck out to me, I began to think about how this would provide a perfect foreshadowing to the sketches of cling film. I thought about just having the sketches on foil paper and decided against it as the floating, threatening motion of the plastic in water differed from any other material I had found.
What can we do to make the city more ‘green’? In Coventry’s case, it’s more like, what can we do to make the city more ‘blue’? Blue like the sky or water. Blue represents clarity, stability and tranquility. In a city full of wheels and fast motion, the canal represents a break away for its residents or a moment of pause for the locals.
The lens I created from blue and pink highlighters and the bottom of a water bottle helped create the filter used in the final projection. The video itself metaphorically symbolizes the filtration of the waters whilst the sculpture, sketches and foil papered backgrounds represent the sources of materials that can be used to recreate the art trail.
When I first started this projected I’d hoped to run a lot of the tests by the canal but the sun set way late as it was still summertime then. My only other choice was to test these images in my tub – which in a sense follows suit with the man-made essence of the canal. Granted I didn’t have to adjust myself as I would have, testing outdoors but I rather enjoyed the solitary experience of forming my findings of what I had discovered from Coventry’s vessel.
Nest Residency No 1 by Andy Sargent – Contemporary visual artist.
As I write this, I am looking back on four weeks of a residency organised by the wonderful Talking Birds which ended on the 22nd March 2019, that took place at Eaton House in Coventry. The studio space was provided by Coventry Artspace, up on floor 11, which is I think, the highest place I have ever created work!
I wanted to use this opportunity to further my ideas on a series of works called “Hidden monster”, which deals with the subject of sudden (and permanent) injury, the impact it has on one’s life, how one deals with having to adjust to it, other peoples perceptions of it, and so on. It deals with the isolation, pain, depression, vulnerability, and struggle that comes with disability. I use the motif of the “Hidden monster”, and through this character I can describe the issues I have faced, and still do, as I have first hand personal experience.
This residency allowed me to expand my ideas, and as I don’t have a personal purpose built studio space, I jumped at the chance to take up this opportunity. Even though I struggle daily with mobility issues, I made sure that I could get into the residency as much as possible, to get full use of the studio space provided. From day one, I started creating lots of charcoal drawings, mapping out and moulding images that could be used for three dimensional and two dimensional works. These ideas then filtered into paintings on either board or canvas, small sculptures, and also two large banners or wall hangings. All these works dealt with a multitude of subjects to do with this over-arching subject of being “the monster”. Some of the work dealt with “who is the monster?”. I had been called a monster after my injury, however I see ignorance and hatred towards the disabled as far more monstrous, than someone who has found him/herself on what has been described to me in the past as “the scrapheap of society”. I cannot, nor could I, speak for all disabled people, however these works represent a collection of outpourings on a subject often swept under the proverbial carpet!
During this residency, Talking Birds were busy contacting various people and organisations they saw as being interested in seeing this work and meeting me. I got to discuss the work, the issues depicted in it and life as an artist with physical limitations. Many ideas were discussed, ways and places to show the work, reactions to seeing this work, how the work could be presented in other forms etc. Certainly, from being an artist who lives on the outskirts of Nuneaton, away from the cultural centres in this country, the residency with Talking Birds provided me with a way to raise my profile, and be noticed by more people, getting the message out that my work exists. One aspect of becoming permanently injured in my case, is that you lose your career/job, and earning money becomes a major issue. So not only does physically getting out to meet people pose a huge problem, but you often can’t afford to go anywhere after you’ve paid your essential bills! So a major part of this residency was meeting other very creative people, and feeling, albeit temporarily, part of an artistic community.
So, on reflection, this Nest Residency has been a fabulous four weeks in which to get work created, meet great folks, plan further ideas and opportunities. I would certainly recommend to any other artists who consider themselves disabled to apply for a Nest Residency. You never know what it may lead to!
(A huge thank you to Phillipa Cross, Janet Vaughan and Derek Nisbet from Taking Birds, and Mindy Chillery at Coventry Artspace for making this residency happen. Also many thanks to all the artists, arts organisations, and arts professionals who came to see my work during my residency)
[Photo gallery pics by Talking Birds, Photos in the text by Andy Sargent]
This time, the Wednesday Recommendations (a day early!) are all about Volgograd – you may have heard the name – we understand there was a football match there last night…
Coventry and Volgograd (formerly Stalingrad, it was renamed in 1961) have a lot of history – being the first twin cities in the world and effectively inventing the idea of twinning after WW2. Talking Birds has had a connection with Volgograd for a while now, beginning when we found about the tablecloth in 2004. To mark the 60th anniversary of the twinning, Talking Birds created the ‘Twin 60’ project to explore what the twinning had achieved and what it meant to citizens in the two cities after 60 years, through the creation of a “Virtual Tablecloth“, which you can still find and explore online here.
As we wrote in 2004: Coventry and Volgograd’s…is a friendship that persisted even during the darkest days of the Cold War, and has led to many exchanges between the two cities – whether civic, cultural, educational or personal. It is interesting to ask whether the twinning has made any permanent difference to the thinking and actions of its citizens. And if so, what are they? What do we have in common?
There are issues of regeneration and image that might be explored, as well as the issue of a city’s relationship with its past. We should be careful not to try to make too many direct comparisons between the experiences of the two cities during the war; but we might be inspired by a concept of twinning which cannot be controlled by national governments, and might not even reflect national relations, yet persists and flourishes and has the potential to encourage change on a national level.
What does it mean to be a city of peace and reconciliation?
What does it mean to be a twin?
So, after that bit of background, this week’s Wednesday Recommendations are:
READ (in English or Russian!): About the origin of the link between the two cities, which began in 1943, when Emily Smith, Coventry’s Mayor, and 830 other Coventry women (and some men) signed their names onto a tablecloth. Each one paid sixpence to sign and the money raised went towards medical aid for Stalingrad (now Volgograd). The names were embroidered by Mrs May Adams over the course of the next two years. In 1944 the relationship between Coventry and Volgograd was cemented and the cities became the first to twin.
BROWSE: The Twin Story blog, an umbrella for our Volgograd projects, including Coventry-Volgograd Pecha Kucha talks, children’s art exhibition and more!
FURTHER COVENTRY-VOLGOGRAD READING FROM OTHER SOURCES:
Article in The Guardian from 2016 by Trevor Baker “The issue of how to create links between communities and individuals without endorsing political regimes remains problematic. Even so, there are those who still think that twinning agreements can make a difference to life in our cities. This could be even more true in the case of countries that don’t agree on a political level. In 2014, to celebrate the original bond of friendship, Volgograd Children’s Orchestra visited Coventry and performed a piece of music, Twin Song, written by Nisbet. It could have been disastrous timing, as relations between Russia and the west were at the lowest they’d been since the cold war. The orchestra travelled soon after Russia annexed Crimea. “I was a little bit worried about hearing some questions from people about politics. But luckily there was nothing like that,” says orchestra leader Yuri Ilynov. “We only heard nice things about the orchestra.””
Article in The Conversation “I love Volgograd” by Catherine Danks, Senior Lecturer in Russian and Soviet History and Politics, Manchester Metropolitan University (which also mentions our projects!)
Talking Birds needs volunteers to join its street performance The Q on Friday 23rd & Saturday 24th March in Coventry, as part of the Shop Front Festival (the first event in the build up to Coventry UK City of Culture 2021).
The Q is a celebration of the Art of Queuing. In 2011 the Q Corporation was formed in Coventry to campaign for Queuing to be included in the Olympics (therefore ensuring a string of Golds for the UK). Now they return – still dressed in orange – to show why Coventry has the most cultured Queues in the UK, and that it’s high time for our foremost past-time to be recognised as an Artform in its own right.
What do I have to do?
The @Q_Mob is like a Flash-Mob, but slightly more orderly. To join Q_Mob you need to sign up for a 4 hour slot (with ample breaks!) during the Shop Front Festival on Friday 23rd or Saturday 24th March, during which time you will be helping form queues around the City Centre, led by our Q Corp Captains (the elite SAS of queuing).
You will also need to come to a short (1 hour) Q_mob workshop where you can find out more, meet the team and… practice queuing. There are two workshop times to choose from:
Weds 14th March 6.30pm
Friday 16th March 1pm
Both workshops are at Shop Front Theatre 38 City Arcade CV1 3HW (just opposite Argos)
Age requirements: Q_Mob volunteers need to be 18+, younger Q’ers are welcome but need to be accompanied at all times by an also Queuing Parent/Guardian.
There will be FREE CAKE (and other foodstuffs) for volunteers.
Guest post: Vanessa Oakes reflects on her stint on The Cart in the #ThisisCoventry tent (which was curated to launch Coventry’s bid to be UK City of Culture 2021) at Godiva Festival last Sunday.
a space… a cart… a place to sit and think… to listen… focus on our past, present and imagined futures… rest, recharge our phones, shut out the festival NOISE and… meditate on a life made up of memorable moments.
needles in… stitch by stitch… cultural moments cross the ring road… pale blue, blue, white threads, births, love affairs and friendships thread through cloth, as conversations flow an observation surfaces sideways:
how artists and arts organisations talk about interacting with the community rather than thinking about themselves as part of the community.*
testing our powers of concentration… conversation… commitment… action stitching our way along roads, across precincts, towards homes… we lament: it’s only two thirty…
children play, climb and hide… nest and then… disappear/lost… and finally, thankfully, found… we return again to the cloth… thread a needle… pin a note, add a thought, learn a stitch… listen… and… hesitate… a place to rest a pint? is he serious? no… thought not… a hasty retreat.
a cart… a place to… sit… perhaps just sit… rest our feet… process our words… and think, then… once again…
we listen… and imagining a future landscape of our stories told on these streets… we stitch.