Evaluation
The purpose of this assignment is to:
1 Understand the range and nature of arts in the community
2 Understand the skills and processes needed to run a community arts project
3 Understand the roles and responsibilities within a community arts project
4 Be able to undertake roles in the setting up and running of a community arts project
Task 2 – Log Book
• You will research a Community Arts company (*see suggestions below.) You will focus on the roles within the organisation and understand how they contribute to the working of different projects. Use an example of one specific project by your given company, analysing the skills and processes needed to run a community arts project.
• You will record the process of creating your Community Arts project. You must identify the roles and responsibilities that you have taken on within this project. You should evaluate the work your group has done, analysing the skills, processes and roles needed to run a community arts project.
Evaluation of my role/responsibilities within the project:
My roles and responsibilities seemed to change week by week throughout this project. One minute I was single handedly delivering an exercise to a very large group of people, and the next I was explaining to Josh one on one the order of our final performance piece slowly and clearly to make sure he understood. Generally, my role was to assist in facilitating the workshops that we had planned at school. However, if you explore what facilitating a workshop for young people with physical disabilities is really like, much more is required than just 'delivering and exercise.' To be successful at facilitating a workshop for young people with physical disabilities, you must ensure that everyone feels included and like an active participant despite any limited capabilities within the group. You must also create a safe and open environment for everyone in the group where each individual feels comfortable being themselves. (workshop receivers and facilitators included) Another thing you must ensure is that you are fully prepared as a facilitator for things to go wrong. When practicing and preparing a workshop everything goes perfectly because you the facilitators have full control over the situation, however when delivering a workshop absolutely anything can happen and you need to be ready and be able to think on your feet. I feel like as an individual facilitator within a large group I contributed fully and succeeded in all of these areas.
Specific examples of things I think I have individually contributed:
Week 1 - In a large group we shared our basic initial ideas and worries about the project, which I feel I fully contributed to, making some very valid points.
Week 2 - In our first proper student led workshop I took on the role of speed dating exercise facilitator, along with Yazmin.
Week 3 - Within a pair I came up with the "Summer nights" initial idea.
Week 4 - I was the impromptu stand in facilitator when someone didn't come in for the "This is not a ball, this is a..." game. To do this with no preparation definitely developed my improvisation and 'thinking on my feet' skills.
Week 5 -Although I did not lead any specific activities, I felt like I contributed to facilitating week 5's workshop. I ensured that everyone in my individual groups for each section of the piece was engaged and fully understood what we were doing whilst also having a good time.
Week 6 - In the final performance I feel like I helped reassure and calm the nerves and anxieties of many of the Valance students, specifically Alex who had missed last weeks session and therefore felt very unprepared for the performance.
Skills that I have developed over the course of the project:
Confidence, mental stamina, commitment, determination, independance and dedication. I feel like this project has made me more adaptable, more versatile, and more appreciative. I feel more adaptable to different situations and I believe that I could now handle anything thrown my way. I feel more versatile because I now have a deeper understanding and knowledge of physical disabilities, as well as how to accommodate to different people with different individual capabilities. I feel more appreciative of my good fortune in life because I have spent a lot of time with some unfortunate people who seem to be a lot happier and optimistic about life than I am. (I may have said this once or twice already, but I also feel like I can think on my feet more.)
What was the purpose of this project?
I believe the purpose of our specific project was to make us more worldy people. I know that is a very broad saying, but what I mean is that I think the intention of the project was to open our eyes to new and different things in the world, and to push our mental and emotional boundaries past their limits, and to "throw us in at the deep end." Overall, I think one of the main strengths of the project was that it enabled us as individuals to come to the realisation that performing arts is not just for middle class middle aged white people, but for people of all different cultures, ethnicities and capabilities.
Thursday, 11 July 2013
Monday, 8 July 2013
Week 6
Today was the day of our final performance and therefore our final visit to Valance school. Everyone had dressed up nice and summery for our last day together which was nice, and Ros and the other Valance people had organized a little leaving party for us during our lunch hour which was pretty cool!
We got to the school around 10am and then went to the large canteen to have a sort of dress rehearsal run through of our performance piece. Despite us all knowing that the end was looming the atmosphere was a lively chitter chatter of good friends.
Once we had run through the whole performance piece by piece in chronological order, we then ran over the song "Summer nights" a few more times because that was the newest thing we had added to the piece and not everyone was certain of the actions, including myself.
Pretty soon it was performance time and the audience were coming into the canteen thick and fast. Our audiences were made up by valance students who hadn't been working on the project with us, some of the students carers, and some of the students parents.
The performance went wonderfully in my opinion and we all nailed it! The audience was laughing from the get-go and they all received our final performance piece very well.
Then we had a PARTY!!! Which was awesome, but too soon it was time to load up the coach and make our way back to Brit school for the very last time.
WHAT WENT WELL: The day, the performance, the whole project!!!
HOW I CAN IMPROVE: I can't, I am amazing!
(Ros sends her love to you Andrea)
Saturday, 6 July 2013
CHICKENSHED OLYMPIC WORKSHOPS
Staff from Southgate’s Chickenshed theatre will head off on an Olympic tour this summer, crossing the river to the Chelsea theatre to lead a selection of workshops for children exploring the Olympics in an original and inventive way.
Funded by the Royal Borough of Kensington and Chelsea, the inclusive workshops are available for children who live or go to school in the borough and will be led by professional practitioners from the Chickenshed theatre.
The summer season of workshops opens from 30 July to 1 August with the fittingly titled Opening Ceremony Workshop. Suitable for children aged five to seven years old, the workshop will take attendees on a whistlestop tour around the Olympic world using play, music and movement with places costing £60.
For older children aged eight to 12 years old, the World’s End 2012 Heroes Workshop takes place from 31 July to 1 August. Drawing inspiration from personal heroes, participants will explore and create an original piece of theatre to be performed for family and friends. Tickets are free but must be reserved in advance.
If you’ve ever wondered what would happen if Harry Potter, Yoda and The Queen of Hearts were opponents in the 200m hurdles then Let The Games Begin – A Play in a Day Workshop is for you. Suitable for children aged eight to 14 years old, the workshop takes place on 2 August, costs £40 and draws inspiration from participants’ favourite characters to create an Olympics to remember.
Bringing the workshops to a close on 3 August is the Closing Ceremony – A Dance Show in a Day Workshop for children aged eight to 12 years old. Costing £40, this day long activity will use a range of dance styles from Street Dance to Bollywood to help the group create their own unique closing ceremony.
To book a place on any of the workshops, call the Summer Academy team on 020 7938 8017 or Chickenshed Kensington and Chelsea on 020 7351 9298. They can also be booked on Chickenshed theatre's website or by calling the box office on 020 8292 9222. As part of Chickenshed’s drive to make all its activities open to everyone, if the cost of the workshops prevents you from booking, please call 020 7351 9298 for more information about its financial support scheme.
At the theatre’s Southgate home, its favourite interactive storytelling showTales From The Shed continues to run until 14 July, with a mini festival Tales Big Day Out taking place on 21 and 22 July with performances from the Tales team, stalls and creative activities for all the family.
Funded by the Royal Borough of Kensington and Chelsea, the inclusive workshops are available for children who live or go to school in the borough and will be led by professional practitioners from the Chickenshed theatre.
The summer season of workshops opens from 30 July to 1 August with the fittingly titled Opening Ceremony Workshop. Suitable for children aged five to seven years old, the workshop will take attendees on a whistlestop tour around the Olympic world using play, music and movement with places costing £60.
For older children aged eight to 12 years old, the World’s End 2012 Heroes Workshop takes place from 31 July to 1 August. Drawing inspiration from personal heroes, participants will explore and create an original piece of theatre to be performed for family and friends. Tickets are free but must be reserved in advance.
If you’ve ever wondered what would happen if Harry Potter, Yoda and The Queen of Hearts were opponents in the 200m hurdles then Let The Games Begin – A Play in a Day Workshop is for you. Suitable for children aged eight to 14 years old, the workshop takes place on 2 August, costs £40 and draws inspiration from participants’ favourite characters to create an Olympics to remember.
Bringing the workshops to a close on 3 August is the Closing Ceremony – A Dance Show in a Day Workshop for children aged eight to 12 years old. Costing £40, this day long activity will use a range of dance styles from Street Dance to Bollywood to help the group create their own unique closing ceremony.
To book a place on any of the workshops, call the Summer Academy team on 020 7938 8017 or Chickenshed Kensington and Chelsea on 020 7351 9298. They can also be booked on Chickenshed theatre's website or by calling the box office on 020 8292 9222. As part of Chickenshed’s drive to make all its activities open to everyone, if the cost of the workshops prevents you from booking, please call 020 7351 9298 for more information about its financial support scheme.
At the theatre’s Southgate home, its favourite interactive storytelling showTales From The Shed continues to run until 14 July, with a mini festival Tales Big Day Out taking place on 21 and 22 July with performances from the Tales team, stalls and creative activities for all the family.
Friday, 5 July 2013
ROLES WITHIN CHICKEN SHED
Chickenshed Theatre Trust
Theatre Trust President The Hon. Natasha Rayne
Executive Trustees and Directors
Chairman Josh Berger CBE
Treasurer Matthew Rose
Company Secretary Wendy Shillinglaw
The Hon. Natasha Rayne, The Lady Jane Rayne Lacey (Past President), David Bacon, Nick Campsie, Tony Gibbon, Derek Granger, Christine Mason, Alison Ritchie, Prof. Jonathan Shalit, Roger Shane, Angela Soning and Kate Varah
Non-Executive Trustees of Chickenshed Theatre Trust
Dame Judi Dench CH DBE and Sir Trevor Nunn CBE
Executive Trustees and Directors
Chairman Josh Berger CBE
Treasurer Matthew Rose
Company Secretary Wendy Shillinglaw
The Hon. Natasha Rayne, The Lady Jane Rayne Lacey (Past President), David Bacon, Nick Campsie, Tony Gibbon, Derek Granger, Christine Mason, Alison Ritchie, Prof. Jonathan Shalit, Roger Shane, Angela Soning and Kate Varah
Non-Executive Trustees of Chickenshed Theatre Trust
Dame Judi Dench CH DBE and Sir Trevor Nunn CBE
Chickenshed Property Company
Chairman John Burns
Treasurer Matthew Rose
Company Secretary Wendy Shillinglaw
Trustees and Directors
David Bacon, James Briggs, Richard Poole, Tom Redman, Roger Shane and David Thurston
Chickenshed Executive
Artistic Director and Co-Founder Mary Ward MBE D.Univ (Middx)
Director of Music and Co-Founder Jo Collins MBE D.Univ (Middx)
Chief Executive Jane Paterson-Todd MBA
Director of Education, Training and Outreach Paul Morrall
Head of Performance Louise Perry
Administration
- Wendy Shillinglaw – Head of Administration
Fundraising
- Adam Gallacher – Head of Fundraising
- Angel Dahouk - Corporate & Trust Fundraiser
- Amanda Hecht – Events & Community Fundraising Manager
- Jacqui McLeod - Fundraising Officer
Marketing
- Helen Tovey – Head of Marketing
- Susan Jamson – Press & Communications Manager
- Dominic Draper – Marketing Officer
- Tamsin Irwin - Press & Communications Officer
- Vicky Chytis - Marketing Assistant
Theatre Management
- Frances Thomas – Head of Theatre Management
- Toulla Theophanous - HR Manager
- Peter Barrell – Building Manager
- Reg Dent – Morning Building Supervisor
- Christopher Maphosa – Building Supervisor
- Maurilio Da Silva – Weekend Building Supervisor
- Andrew Philippou – Weekend Building Supervisor
- Jenny Kettleton – Volunteer Programme Administrator
- Katarina Kovacova - Buildings Administrator
Box Office
- Kevin Metchear – Head of Front of House & Box Office
- Amy Dunbar – Duty Manager
- Penny Deller – FOH Supervisor & Box Office Supervisor
- Maureen Wright – Box Office Supervisor
- Sehnaz Harrison – Box Office Supervisor
- Barbara Bakhurst - Box Office Assistant
- Aisling Hayes – Box Office Assistant
Finance
- Daniel Beacock – Head of Finance
- Karen Reid – Finance Officer
IT
- Terry Whymark – Senior IT Manager
Membership
- Matthew Lyons – Head of Membership
- Charlotte Bull – Children’s Theatre Director
- Beverley Ward - Membership Subscription Co-ordinator
Performance
- Louise Perry – Head of Performance
- Dave Carey – Creative Development Director
- Christine Niering – Director of Dance
- Peter Dowse – Head of Children’s Theatre/Associate Director
- Michele Durler – Associate Director
- Rachel Yates – Associate Director
- Fiona Carey – Associate Director
- Nigel Spurgeon – Musical Translator
- Jelena Budimir – Associate Director
- Dina Williams – Associate Director
- Loren Jacobs – Artistic Staff
- Charlie Kemp – Artistic Staff
- Belinda McGuirk – Artistic Staff
- Robin Shillinglaw – Artistic Staff
- Iain Whitmore – Artistic Staff
- Louise Reen – Artistic Staff
- Mark Lees – Artistic Staff
- Phil Haines – Sound Technician
- Zeeta Jacobs – Production Manager
- Emma Robertson – Head of Wardrobe
- Rodger Harries – Wardrobe Assistant
- Andrew Caddies – Chief Electrician
- Rebecca Jennings – Deputy Stage Manager
- Phill Fairhurst – Assistant Stage Manager
Education & Outreach
- Paul Morrall – Director of Education & Outreach
- Jonny Morton – Education Manager/FdA Programme Manager
- Linda Foley – Shedlink Programme Manager
- Zoe Hayes – Education Co-ordinator
- Michelle Manzi – FdA Programme Manager/Associate Director
- Antonia Jater – Arts & Education Administrator
- Daniela Boyce – Arts & Education Administrator
- Ffion Stavrou – Arts & Education Administrator
- Sebastian Gonzalez – Education Staff
Research Task
OUR MISSION AND VISION
Our vision is a society that enables everyone to flourish and our mission is to create entertaining and outstanding theatre that celebrates diversity and inspires positive change.Where difference can divide, at Chickenshed the difference makes the art.
Chickenshed is an inclusive theatre company that first began in 1974 . Primarily based at our own purpose-built venue in North London, we create theatre for all ages and run successful outreach projects, education courses and membership programmes throughout the year. We are also a registered charity and rely heavily on the generous support of individuals, companies, trusts and foundations in order to continue our pioneering work.
ONCE UPON A TIME, IN A SHED...
In 1974, musician and composer, Jo Collins, met Mary Ward, a teacher and director. With a shared belief in harnessing the creativity in everyone and anyone, they started a theatre company. In a chicken shed.
Their creative process worked. More members joined as church halls replaced the eponymous shed. In the early 1980s the company included a boy with cerebral palsy for the first time. ‘If we’re open to everyone, why is he the only one?’ asked teenage members. Enter John Bull and his pioneering work on integration. He joined with Mary and Jo and Chickenshed became the first truly inclusive theatre company. Open to everyone.
Judi Dench and Trevor Nunn joined us as pro-active Trustees. Our first CD, a record contract, TV and West End performances followed – and an increasingly public profile.
Amidst all this, 1988 was a pivotal year: Lord and Lady Rayne met Chickenshed – and Lady Rayne became our President. She introduced our work to The Princess of Wales, who ‘got’ Chickenshed, heart and mind, from the start. As our Royal Patron, she shared her time – personal and professional – and gave us genuine loyalty and unwavering support.
When Enfield Council pledged land for a theatre, it was Lord and Lady Rayne who tirelessly raised the funds to build it. In December 1994, the company moved into a beautiful flexible space. At the heart of the building sits The Rayne Theatre, named after the family who turned our dreams into reality.
From our new home, things really took off. 1995 saw our first national tour. 2 months, 20 performers, 5 cities and 20 schools, enjoyed by over 5,000 people.
For Mary and Jo, the concept of inclusion that seemed so obvious at the start is now an international movement with a mission to change the world. The awards that recognise this – two MBEs, ‘This is Your Life’, Creative Briton Award, a Snowdon Award and Honorary Doctorates included – are as much for Chickenshed as for them.
Some of the original 1970s members are still the core of our company. Most have moved on, outside performance art, but the Chickenshed experience remains within them all. Adult lives underpinned by the values and skills absorbed during their magical time at the Shed. And an understanding that diversity and inclusiveness should be a way of life.
That understanding is just as relevant for members today. Every extraordinary piece of theatre they create at Chickenshed shouts out the same thing: anyone can thrive in an environment where everyone is welcome.
Judi Dench and Trevor Nunn joined us as pro-active Trustees. Our first CD, a record contract, TV and West End performances followed – and an increasingly public profile.
Amidst all this, 1988 was a pivotal year: Lord and Lady Rayne met Chickenshed – and Lady Rayne became our President. She introduced our work to The Princess of Wales, who ‘got’ Chickenshed, heart and mind, from the start. As our Royal Patron, she shared her time – personal and professional – and gave us genuine loyalty and unwavering support.
When Enfield Council pledged land for a theatre, it was Lord and Lady Rayne who tirelessly raised the funds to build it. In December 1994, the company moved into a beautiful flexible space. At the heart of the building sits The Rayne Theatre, named after the family who turned our dreams into reality.
From our new home, things really took off. 1995 saw our first national tour. 2 months, 20 performers, 5 cities and 20 schools, enjoyed by over 5,000 people.
For Mary and Jo, the concept of inclusion that seemed so obvious at the start is now an international movement with a mission to change the world. The awards that recognise this – two MBEs, ‘This is Your Life’, Creative Briton Award, a Snowdon Award and Honorary Doctorates included – are as much for Chickenshed as for them.
Some of the original 1970s members are still the core of our company. Most have moved on, outside performance art, but the Chickenshed experience remains within them all. Adult lives underpinned by the values and skills absorbed during their magical time at the Shed. And an understanding that diversity and inclusiveness should be a way of life.
That understanding is just as relevant for members today. Every extraordinary piece of theatre they create at Chickenshed shouts out the same thing: anyone can thrive in an environment where everyone is welcome.
Performance
Entertaining and thought-provoking
Performance is at the heart of everything that we do and brings together all aspects of the Company. Our work uses the stage to celebrate diversity and performance as a vehicle to tackle topical social issues. We regularly present original and entertaining productions for young children, families and adults that showcase talent. We also create new work, inspired by the people around us, about personal and social issues that affect society today which we then take on tour to theatres, community centres and schools across the UK.
Education
Everyone has a right
Chickenshed changes lives by bringing young people from all social and economic backgrounds, races and abilities together to study creatively alongside each other. Many of whom have been marginalised by society and excluded from mainstream educational settings.
66% of the students on our BTEC course would not be permitted to start a course at any other college or university, yet 95% of these same students achieve a nationally recognised qualification at Chickenshed.
Membership
Celebrating diversity
We believe that every person who joins our company positively changes the way that we work. We work to every individuals strengths, finding the creative environment that will enable them to flourish. We hold weekly workshops where young people can gain a newfound confidence and get the chance to regularly perform in major in-house productions.
Outreach
Targeting those who are difficult to reach
Chickenshed has established a network of partners that enables us to effectively target children and young people who would otherwise not be able to access our work. To date we've toured to over 200 schools, reaching 25,000 young people and rising. Our work engages and educates young people about relevant social issues through the power of performance and active participation in workshops.
‘You must do the show in my primary school because that is when everything bad starts.'13-year-old boy from a school in London
We also run Shedlink - an ongoing project that enables us to help community groups set up independent 'Sheds' around the UK (and two in Russia!) so that more people can benefit from our ethos and teaching style.
Chickenshed Kensington & Chelsea
Expanding our work to meet growing need
42% of children living in Kensington and Chelsea are from low income families.
Our aim is to replicate our successful model, practised and developed for nearly 40 years, and bring inclusive theatre workshops to Kensington and Chelsea, South London. This will ensure even more children and young people can experience the importance of being included and valued; not segregated or rejected.
Young Creators
A new Chickenshed initiative
Young Creators is a new professional development programme, launching at Chickenshed in 2013, which will provide young people with access to training and practical work experience in a variety of theatre skills. The aim is to provide a platform which will teach young people creative skills and arm them with the necessary tools to further their professional development.
Each year, 165 Young Creators will benefit from the programme.
Recent awards and nominations
We have been nominated in the Best Male category of the Off West End Theatre Awards 2012 for The Rain That Washes and in 2011 we were awarded Winner of Best Theatre Company in the Fringe Report Awards and the Panel Award at The Off West End Theatre Awards.
Monday, 1 July 2013
Week 5
Week 5 day 1So today was our penultimate visit to Valance school which made me sad but happy at the same time. Sad because I shall miss the students dearly once our project is over, and happy because I have had a brilliant time on the project and made some really good friends.We set off around 9 again and arrived at 10ish as per usual. Nothing much happened on the journey except Shanon falling asleep again. I used the time to annotate my copy of 'A streetcar named desire' by Tennessee William, because we have to write a coursework essay on it for English Lit. And because I am such a good student. *heavy sarcasm*When we got to the school we were working in the large canteen space again. The first thing we did was go through the music section of our piece after we had finished chatting and catching up with the students. We did some warms ups and had lots of fun doing the "big face little face exercise" and the "happy face sad face exercise." We rehearsed each of the individual sections in our final performance piece and then we literally stuck them together.Here is a chronological list of each of our 'sequences' or 'pieces' that we will be performing at around 11am next week monday:
- Individual car scenes
- Movement storytelling piece
- Picture poses
- Rollercoaster rides
- Sunglasses sequences
- Song - "Summer nights"
During our lunch break we all started making up our own fun games using our inflatable toys so I recorded one new game we created which I would like to nickname "bomb ball."
Alex and Ember were persuaded to roll down the very large hill outside the front of the main Valance school building. I recorded it for your viewing pleasure:
WHAT WENT WELL: Great day! Very hot! Lots of fun! I am WAY more confident in working with the Valance students and I feel like I am learning a lot about how to adapt to different situations. I am really enjoying the project and don't want it to end!HOW I CAN IMPROVE: Mental and emotional preparation for saying goodbye to all the students next week.MY ROLE/RESPONSIBILITIES: Although I did not lead any activities today, i felt like i contributed to facilitating our workshop. I did this by ensuring that everyone in my individual groups for each section of the piece was engaged and fully understood what we were doing whilst having a good time.
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