Whether you’re a Londoner, taking a day trip before moving here or a new resident here’s our arty list of exciting ways to spend your summer in the city.
Free activities all week in Victoria Park near our Mile End campus including live music, free outdoor cinema, live music, live performances from Pan-Asian cabaret collective BITTEN PEACH and much more.
PLUS: We’ll be there at 2pm on Thursday 2nd September for a pop-up podcast recording with a surprise author guest.
A feast of (mainly) free performance across east and south London including this spectacular ‘northern lights’ installation called Borealis and a promenade show at the Tudor surroundings of Charlton House by our very own Mojisola Adebayo. Be sure to book in advance for free and paid events.
The doors are thrown open to London’s gorgeous, unusual and secret buildings at Open House London. Booking opens on 11 August at 12pm (midday) and it’s the perfect chance for locals to discover something new in your area or if you’re new to explore London.
Free summer weekenders curated by some cult icons including Shingai (pictured above) who’s showcasing Black talent, dance battles from Zoonation and bank holiday carnival vibes from Dennis Bovell’s Sound System Experience.
MISERY, Sad Girl Summer event 2020. Photo by Ella J Frost
What Shall We Build Here is a festival of art, climate and community at Artsadmin’s Toynbee Studios in Aldgate East, in parks and in your local supermarket.
This two-day online event explored productive, radical, contemporary encounters between the arts and mental health, bringing together clinical, artistic, and research perspectives that offered a re-interpretation of contemporary mental health science and practice, with a view of imagining a different future. This event was joined by more than 100 people including survivors, service users, mental health professionals, artists and researchers interested in how the arts can contribute to mental health.
The conference was opened by photographic artist Daniel Regan, who shared his discovery of the power of the arts in his own mental health journey. Daniel discussed the shame and stigma of living in crisis and how transforming his relationship to his lived experience turned it into his greatest asset. Consultant psychiatrist Dr Tom Cant introduced Peer Supported Open Dialogue and the ODDESSI* trial, a multicentre randomised control trial funded by the National Institute for Health Research. Developed in Finland in 1986, Open Dialogue is a social network model of mental healthcare where the person of concern is genuinely offered the power to define their recovery.
[*ODDESSI stands for Open Dialogue: Development and Evaluation of a Social Network Intervention for Severe Mental Illness]
On the second day, the artist keynote was given by playwright and theatre directorJulie McNamara, an outspoken survivor of the mental health system, who works with people from locked-in spaces, foregrounding the stories of disavowed voices from the margins of our communities. People who have lived in long-care hospitals are not ordinarily perceived as artists and storytellers with meaningful contributions to make in our cultural industries. Julie talked about her creative process, staging the voices of women who transgress, women who fail to perform femininity as constructed in this ableist, patriarchal society. Lived expert consultant Amanda Griffith introduced the Power Threat Meaning Framework (PTMF), a radical approach to understanding emotional distress and wellbeing that is attracting interest both nationally and internationally. Aimed at a wide range of stakeholders, the framework highlights the links between personal, family and community distress and wider issues arising from social inequalities and injustices. This gives particular attention to the experiences of people and groups who have been exposed to abuses of power on the basis of their race, ethnicity, gender, class, religion, nationality, age, sexuality, disability, or their status as a mental health service user, and the way these identities and associated experiences of power intersect.
A series of panels invited discussion on different topics. In the panel led by the Centre for the History of Emotions at Queen Mary, the audience applauded the concept of “emodiversity”, developed as part of a programme for emotional literacy in primary schools, a superb pilot run by Prof Thomas Dixon.
Conference delegates participated in a Creative Enquiry all group activity, led by Dr Louise Younie, pioneer of the creative enquiry approach for flourishing in medical education. Moreover, selected participants were invited to present their artworks of poetry, painting and music: a delightful moment, inviting both aesthetic pleasure and reflection.
During discussions and reflections raised by this momentous event, the audience was enraptured and applauded the presented projects and innovative practices. Also, organizers and the public felt stimulated to discover new alternative approaches to mental health for future times, taking into account above all creativity, open dialogue, and direct participation from users of the health system.
It was clear that the bio-scientific, logical-rational, reductionist, and mechanistic model of mental health needs updating. An empathetic look, which gives rise to interpretive and communication abilities, is necessary to approach the idiosyncratic narratives brought by survivors and service users. In addition, the well-established hierarchy relationships within the mental health medical environment, which highlight authority and power, oppress and make stagnant the creativity and humanization that should permeate all human relationships. All this misinterpretation over mental health care leads to overly rigid and standardized models of approach, lacking human connection.
Hence, health professionals need to be open to access subjectivity and make deeper connections, giving voice and opportunity for self-expression. Ultimately, the arts seem to be a catalyst tool to materialize the inner turmoil of mental disorders, providing opportunities for representation and meaning-making, as well as being a fantastic means to well-being.
We hope you are enjoying the heat or avoiding if you’re not a fan hehe. We can’t wait to see you in September and remember if you’re worried or need help on results day please get in touch with me.
Please scroll down ↓ ↓ ↓ to download preparation documents aka reading lists, which lots of you have been asking for by email.
Please note that this is not essential reading which will be delivered to you when the course begins. In September we usually provide module packs and extensive week by week information via our online learning platform which have extracts of everything we expect you to read and watch. We will provide more details on any must-purchase or borrow books when semester 1 begins.
The groups now how have a rep from English, Katie and Drama Joshua who can help with any questions you have.Please use these respectfully, be sensitive to others and be aware that there are moderators in the groups.
Tours
It’s been great meeting students in person for our tours on Wednesdays and Fridays.
You can book here for an in-person tour or 1-2-1 chat online.
English & Creative Writing Preparation
Please use the link below to see our suggested preparation for English ahead of your degree in September. Follow us on Twitter for literary events recommendations.
Preparation Please see the recommended reading for drama and remember to see as much theatre and performance as you can this summer. We’d say Greenwich + Docklands International Festival is a great mainly free place to start.
We caught up with Drama graduate and now staff member Estelle about why she thinks Queen Mary is different and an exciting place to study Drama.
Active Research university – your tutors and academics are not only delivering the highest quality teaching but are also delving deep into their own research. They find endless hours in the day to explore the topics in their specialisms, which range from verbatim theatre to foley sound work, to changing the policy of the arts in education, to award winning performance art creation and so much more.
Being the only connected campus university in London a big thing for me coming to university four years ago was wanting the full experience, having my accommodation in halls and seeing all my mates go to their rooms just a stone’s throw away. It’s great to be able to have that on the Mile End campus with very exciting and eclectic architecture and views by the canal and lots of grass all around it, and at the same time be able to look down the stretch of the Mile End road and see the big city buildings is an amazing combination.
For me, as someone who spent a lot of their university life in central London when not in class, whether that was working, seeing shows or taking full advantage of the nightlife, having an entire city on your doorstep is a huge bonus to the university experience.
Opening your mind – the things I learnt during my BA drama undergrad and things I’m now thinking about in any role based around being a practitioner drama are skills and concepts that I hadn’t even thought about before my time here, but are now integral to my thinking and creating.
The social and political basis of all artwork and the eye in which you look at that is so skillfully trained during your time here that you look at so much artistic content so differently. You bring these elements such as accessibility, agency, diversity, and relevance into play in everything you do after that, making you so much more of a well rounded and progressive creator.
Usually caught with a fantastic book in one hand and a large glass of pinot in the other.
Tell us about your time at QMUL. What have been your highlights?
Crikey, highlights at Queen Mary! Where do I begin? As its a campus based university in central London, QM has access to such experiences that really stay with you even after your time there. I’m quite a socialite and the quick route to Soho and Shoreditch were great to really embrace London culture. My course itself was a great companion for my lifestyle as some of the modules required to go out into the city and explore! A fantastic moment for me was definitely getting a lecturer taught underneath the Globe!
How has your course at Queen Mary helped you to progress into the world outside? What’s next?
English at QMUL doesn’t restrict itself in its teachings. There is such a wide variety of subjects within the course that allow you to really explore what you truly love. This variation has been great for me in the outside world, not only in teaching me more but also as an insight to what I might want to do in my later years.
Aside from course content what have been your favourite elements of the experience of studying here as a whole?
As said previously, I loved the social life of uni. Who doesn’t! You have one of the greatest cities in the world on your doorstep and my friends and I made sure to take great advantage of it. London was our very own playground and that’s the way it should be. I’ve made some fantastic friends that have stayed in my life even after university, we simply haven’t left London yet. Two of my very close friends loved the social aspect of the city so much that they bought a pub in Mile End!
Tell us about your life outside Queen Mary including any projects, ambitions or jobs you’ve had.
I’m currently working in content creation and marketing over three companies, which I absolutely love. It’s a lot of work but it certainly keeps me on my toes. The company I mostly work with is an up and coming new dating website, so its thrilling stuff at the moment what with everything (hopefully) going back to normal.
Before this career step, I worked for a company called the Noble Collection. Some of the more film-based fanatics might have heard of them since they primarily create fine replicas and gifts from movies such as Harry Potter and the Lord of the Rings. If you own a wand, chances are Noble made it! This was a researched based job and it gave me the chance to work with notorious toy store Hamleys.
During my personal time when I’m not sat at my desk, I play rugby for the Kings Cross Steelers twice a week. It’s the first all inclusive LGBT+ rugby club in the world so I get to meet, drink and play with such a wide range of interesting guys. Its also only a hop on the tube from my flat in Shoreditch!
In regards to ambitions, I have many. That doesn’t mean I set my life path towards achieving them though. My perception on life is to just enjoy every second, because if you strive for something so desperately, you can sometimes become obsessed and miss the finer things in life. Those ambitions will come to you freely.
What could be improved to enhance future students’ experience at Queen Mary?
I think so many professors value your journey at QMUL, and it really shows in person when you get to talk to them. Sometimes communication isn’t received as clear as it should have been, whether it be about the course or results feedback. I think a good chit chat in their office is a calming alternative to essay feedback rather than the ominous online results.
Our Alumni Co-ordinator Nathalie Grey has produced an Alumni Showcase which is taking place as part of the Peopling the Palace Festival this evening from 7pm.
Tell us about your time at QMUL. What have been your highlights?
After joining QMUL I very quickly realised this was 100% my academic home, the lecturers and seminars are unbeatable and staff are really great at making you feel comfortable in exploring your ideas around texts. Outside of academics we have so many opportunities in terms of events and societies, having my own articles published in CUB magazine was amazing! I also have had the privilege of being elected for SED Student Rep in the SU, and the English Soc Welfare Rep for 2021-22!
How has your course at Queen Mary helped you to progress into the world outside? What’s next?
Aside from developing my academic interests, I think that Queen Mary really helps to develop the tools you need to be confidently yourself – you come into contact with so many people and so many ideas and QM really teaches you how to lobby your own perspective. It’s also this last year at QM that’s made me realise I’d love to go on to do an English MA after my undergrad.
Aside from course content what have been your favourite elements of the experience of studying here as a whole?
QM is one of the best places to study if you want to meet new people – we have such a diverse student body that there’s always people to make friends with and I feel like you make more every year, I’ve met some absolutely amazing people who have definitely shaped the pastoral side of my experience here and I know I wouldn’t have found that kind of friendship elsewhere.
Tell us about your life outside Queen Mary including any projects, ambitions or jobs you’ve had.
I’ve been working in food retail since I was 16 and with the pandemic I get to tell everyone I’m a key worker but outside of that I’ve got a little book club with some friends (classic English student behaviour, I know) and I’m working on some submissions for a couple of indie lit mags – the absolute dream is to publish a novel! I also love cooking and baking so I’m always trying out new recipes in my spare time – I went veggie for March too and the food can be so much fun!
What could be improved to enhance future students’ experience at Queen Mary?
I think what would really help would be finding a way to engage all students in the QM community, every year you hear some students feel left out, like commuters or part timers, and some are totally disillusioned with the SU, especially after a year of intermittent lockdowns so I think rebuilding that relationship would be huge
That’s tough, but if I was to choose three words they would be curious, creative and collaborative.
Tell us about your time at QMUL. What have been your highlights?
I have really enjoyed my time at Queen Mary so far. The teaching style is very different from the one that I experienced in high school, I didn’t take Drama GCSEs or A-Levels and instead experienced conservatoire-style training, focusing on acting, rather than the wider process. I have really enjoyed learning about the more theoretical aspects of drama, as a practice and as a ‘theory’. My favourite module so far was London, Culture, Performance. Understanding the impact of performances, theatres and wider impact that they have was incredibly interesting and insightful and left me with a lot to consider.
How has your course at Queen Mary helped you to progress into the world outside? What’s next?
The course has changed my perspective of what performance can be and the impact it has in a wider contexts. The QM drama modules are, by nature, very abstract and require you to have an open mind and whilst pushing me to creative limits, have made me reconsider the defining aspects of performance. After Queen Mary, I am hoping to go into the casting field, and I particularly want to focus on diversifying representation within the entertainment industry, both on stage and on screen. Both the drama and film departments have provided me opportunities to consider the importance of casting and representation, the pitfalls that the industry has, and ways in which these pitfalls can be properly rectified. These considerations have been furthered by the diverse student body at QM, I have been able to listen to others’ perspectives and truly understand how and where different people, cultures, communities want, and don’t want, to be perceived.
Aside from course content what have been your favourite elements of the experience of studying here as a whole?
In my first year at QM I joined the cheerleading team, and it really helped to shape my friendship groups and my university life outside of my studies. Having never attempted the sport before, I took the opportunity to try something new, thinking, if nothing else, it could be a bit of fun to try. I ended up falling in love with it! Being part of a team and working towards a goal helped bring an aspect of community and stability to the mania of first year, meanwhile, allowing me to further challenge myself physically and mentally. This year I am captain of the All-Girl team, and am improving my leadership skills, and well as my ability to creatively problem solve everything that lockdown has thrown our way!
Tell us about your life outside Queen Mary including any projects, ambitions or jobs you’ve had.
Before coming to QM I spent two summers working at an underprivileged summer camp in New York. The impact this had on me was profound, and it was incredibly inspiring to hear the stories of young people who have experienced deep hardships in their lives and to then see their resilience and optimism for their futures. Alongside having career ambitions, I hope to one day give back and provide opportunities for young people to nurture and fulfil their talents. It feels premature to say this, as I feel as though I still have my whole life ahead of me, but ultimately, they are the future, and they deserve to, alongside being safe and happy, follow their dreams.
What could be improved to enhance future students’ experience at Queen Mary?
I think a stronger aspect of community could be built at QM, with more opportunities to organically collaborate on a wider range of things. I think the drama department has done a great job of this, and the collaborative nature of the practical side of the course has definitely helped to foster this atmosphere. But I have felt, particularly as a joint honours student and with everything being online this year, other departments have not put the same emphasis on such a crucial aspect of university life.
An indecisive creative who’s passionate about most things.
Tell us about your time at QMUL. What have been your highlights?
So far at QMUL, being surrounded by like minded people has been a highlight. As well as this, being able to fully explore in depth and analyse texts, or being able to study new theories and schools of thought in detail has also been a highlight.
How has your course at Queen Mary helped you to progress into the world outside? What’s next?
Queen Mary has provided me with a lot of opportunities that I don’t think I would have been aware of if I was elsewhere – I’ve taken part in QMentoring, and this has helped me a lot to understand the world of employment in my specific field, and how I could progress beyond my BA into potentially further study, or what career paths I could take.
Aside from course content what have been your favourite elements of the experience of studying here as a whole?
One of the best elements of studying at QMUL has been the people that I’ve met and the friendships I have formed. It has also been enjoyable to join societies that are about things I am interested in, and being able to meet new people through this.
Tell us about your life outside Queen Mary including any projects, ambitions or jobs you’ve had.
I’ve been involved in the Harper Collins Author Academy, which has been amazing to be a part of and has been a great experience as a whole, giving invaluable insights into the publishing industry as well as helping me to understand what I’d have to do if I wanted to get my work published.
What could be improved to enhance future students’ experience at Queen Mary?
I think that the university has a good support system as it is, but perhaps making these more known to students could help enhance the experience of future students.
Tell us about your time at QMUL. What have been your highlights?
Highlights have included: creating a dress out of Greggs career bags in Making Theatre, perfuming as sex therapist Dr Dodo in Performance Composition, and working/creating alongside a talented group of people (both staff and colleagues).
How has your course at Queen Mary helped you to progress into the world outside? What’s next?
It has allowed myself to become an independent artist, exposing me to new arts and ways of creating. Hopefully my research into the world of “drama” continues in time and my love for the subject only grows, I would love to do my Masters and PhD if at all possible. Or even gain a following in my art and work.
Aside from course content what have been your favourite elements of the experience of studying here as a whole?
QMBL Swim, I started off as a Fresher, became Social Sec, and finally president in my final year. I have made many friends in not just drama but other fields of study.
Tell us about your life outside Queen Mary including any projects, ambitions or jobs you’ve had.
Boots (Christmas Customer Assistant; Customer Assistant, No7 Advisor) The Alcobox (Server) The Alchemist (Busser) Clarins (Skincare Specialist) The Grapes (Barman/Server) Wilton’s Music Hall (Usher) NTW Solutions (NHS Service Assistant) NHS (Housekeeping Assistant)
What could be improved to enhance future students’ experience at Queen Mary?
Paying for shows/trips that we are required to see as part of a module.
Performance, Possession & Automation – a collaborative research project led by Nick Ridout and Orlagh Woods, in collaboration with Dhanveer Singh Brar – invites you to two online conversations.
Possession & Modern Acting
Friday 4th June, 6-8pm (BST)
Online
Shonni Enelow, Julia Jarcho and Nicholas Ridout
Possession: an actor seems to have been taken over by someone else.
Automation: an actor is someone whose actions are not their own.
In this public conversation, Shonni Enelow, Julia Jarcho and Nicholas Ridout explore ideas about possession and automation in relation to 20th and 21st century experiences of acting, theatre and the movies. Do they hold clues to the roles that both possession and automation play in contemporary life, and to how we might think and feel about them.
Click here, to book your place and for further information.
What occurs when “lose her” is recast as “loser”, and covered over once more to become “winner”? And why in each reversioning does “pride” persist, but never in the same guise? These are questions which arise from listening to the Jamaican essayist of the song form, Alton Ellis.
By losing ourselves in Alton Ellis’s losses and revisions, Edward George and Dhanveer Singh Brar believe it is possible to begin to open up an auditory dimension to the question of spirit in Jamaica, the Caribbean, the diaspora, and in turn, modernity itself, as it was being rendered towards the end of the twentieth century.
Click here, to book your place and for further information.
Performance, Possession & Automation is a research project exploring automation and possession as two ways of thinking about what happens to human subjects who act in ways that they do not themselves fully control. How can making and thinking about performance contribute to thinking about these ideas?
In partnership with Fierce Festival, performingborders and Transform Festival
This project is supported by:
Collaborations Fund of the Faculty of Humanities and Social Sciences, Queen Mary University of London (QMUL) The Centre for Public Engagement, QMUL Strategic Research Initiative, School of English and Drama, QMUL
Conducting conversation / Connecting Creatively / Creating Courageously / Courageously Carrying On / and Cabaret! / Come on and join us!
Peopling the Palace is a yearly festival of performance, workshops and events that showcases the work of Queen Mary academics, artists, current students and alumni.
This year’s theme is care and features over 25 events from outrageous cabaret nights to a day exploring the rituals of care. In times of global unrest and pandemic, Peopling the Palace Festival, creates a space to explore how important caring about each other is. The festival tackles important contemporary issues of racial inequality, mental health, care provision, neurodivergence, art in a crisis, climate justice and aging.
All events are free to attend and open to all. Advanced booking required for all events.
I am Leah (13 June) A vital new play inspired by the stories of survivors of the 1994 Genocide Against the Tutsi in Rwanda.
Dadders (19 June): Escape to the Meadowdrome with acclaimed artists Daniel Oliver and Frauke Requardt (The Place, Latitude Festival) to delve into their experiences of neurodivergent parent.
Last Gasp WFH (19 June):Playing with the fragility of technology, particularly the unpredictability of Zoom, the team found new avenues to the classic Split Britches (Lois Weaver and Peggy Shaw) aesthetic of broken down theatrical conventions, exposing the self on stage.
The Tempest in English and Spanish (17 June):This interactive experience explores how the arts can break the stigma around autism.
The Possibility of Colour (12 June):Dystopian play about a new miracle cure and explores themes around mental health voice hearing, synaesthesia, neuro-diversity, Artificial Intelligence, privatised health and the illusion of choice.
Cabaret & Showcases
Alumni and Current Student Performance Showcase Nights (10,15 & 17 June): Be shocked, surprised and inspired when you support new artists and performers as they show their latest works.
Her-Pees (9 June) a comfortable, inclusive, and questioning performance night ahead of their Bethnal Green Working Men’s Club Debut.
Friday Night In (Film Night) (11 June): A small screen celebration of work from QMUL students, alumni, staff and other exciting filmmakers.
Cossy Fanny Tooty Cabaret (16 June): A cheeky performance cabaret curated by Vivian Harris.
Workshops, Conferences & Conversations
A Queer Climate Justice Workshop (16 June)by Queen Mary Theatre Company in the lead up to a new show, The Cabaret at the End of the World.
Free Creative Skills Workshops (14-15 June) to help QMUL students and the community get into the creative industries with Creative Skills Academy.
Workshop on Writing Race (16 June) for sixth-form students with acclaimed artist Vanessa MacAulay.
Enlightening Conversations and Conferences: ‘Women, Theatre, Criminal Justice’ with Clean Break, ‘Making During States of Emergency’, ‘Cults, Conspiracy and Pseudoscience’, ‘Mental Health and the arts’ and ‘How do Universities Care for Students Learning’.
Welcome to our digest full of interesting events, opportunities and schemes that may help you meet collaborators, improve their career prospects or simply broaden your horizons.
Please let us know if you have any suggestions for next edition via sed-web@qmul.ac.uk
From QMUL, Partners & Friends
Peopling the Palace Festival 2021 is coming from 7-20 June 2021 and students get exclusive early access to booking free tickets ahead of the launch via the button below…
Zoom event – Free admission – We welcome interest from the public, link on request via our Twitter account on Twitter account on @QuorumQMUL or our email address queenmaryquorum@hotmail.co.uk.
Performance, Possession & Automation – a collaborative research project led by Nick Ridout and Orlagh Woods, in collaboration with Dhanveer Singh Brar – invites you to two online conversations.
Possession & Modern Acting | Friday 4th June, 6-8pm (BST) | Online | Shonni Enelow, Julia Jarcho and Nicholas Ridout
Possession: an actor seems to have been taken over by someone else.
Automation: an actor is someone whose actions are not their own.
In this public conversation, Shonni Enelow, Julia Jarcho and Nicholas Ridout explore ideas about possession and automation in relation to 20th and 21st century experiences of acting, theatre and the movies. Do they hold clues to the roles that both possession and automation play in contemporary life, and to how we might think and feel about them.
Click here, to book your place and for further information.
I was born a loser | Friday 11 June, 6-8 pm (BST) | Online | Edward George and Dhanveer Singh Brar
What occurs when “lose her” is recast as “loser”, and covered over once more to become “winner”? And why in each reversioning does “pride” persist, but never in the same guise? These are questions which arise from listening to the Jamaican essayist of the song form, Alton Ellis.
By losing ourselves in Alton Ellis’s losses and revisions, Edward George and Dhanveer Singh Brar believe it is possible to begin to open up an auditory dimension to the question of spirit in Jamaica, the Caribbean, the diaspora, and in turn, modernity itself, as it was being rendered towards the end of the twentieth century.
Click here, to book your place and for further information.
Performance, Possession & Automation is a research project exploring automation and possession as two ways of thinking about what happens to human subjects who act in ways that they do not themselves fully control. How can making and thinking about performance contribute to thinking about these ideas?
In partnership with Fierce Festival, performingborders and Transform Festival
This project is supported by:
Collaborations Fund of the Faculty of Humanities and Social Sciences, Queen Mary University of London (QMUL), The Centre for Public Engagement, QMUL & Strategic Research Initiative, School of English and Drama, QMUL
Creative Workshop: Calling University Students! What do you think of your hometown? Why do you want to leave? Why do you want to stay?
Join Botch Job for an online creative workshop, focusing on exploring the question of what home means, and how identity can be shaped by the place you grew up in. We want to hear about your love/hate relationships with your hometowns, why you have chosen to stay or leave and what this means for the places left behind. The workshop will be a mixture of group discussion and informal writing tasks based around these themes, and used as research in devising a new piece of theatre about hometowns. No tools or preparation will be required.
Botch Job are an emerging company, formed in January 2019 by Jack Tricker and Tom Chamberlain as part of Camden People’s Theatre’s Starting Block artist development scheme. Botch Job have an interdisciplinary approach to theatre making, involving video and live art practices and create entertaining work engaging in wider social and political discussions. They make theatre driven by questions about the world that they have yet to answer.
If you’re interested in supporting Botch Job, then please register here https://forms.gle/H3vUTPVEJuw4XNCR8 . Attendees will receive a £10 Dominos Voucher or £10 Book token voucher. Please respond by 23rd May at 5pm.
Dates/Times:
Monday 24th May, 6pm-7pm
Tuesday 25th May 6.30pm-7.30pm
Wednesday 26th May 7pm-8pm
Outside QMUL
Creative Youth Worker Job at Spotlight “We are seeking amazing, creative, inspiring people to join our team at Spotlight. The role will support our young people to access and thrive within our creative programme and support our teams of expert facilitators and delivery partners. This is a perfect opportunity for freelance artists; people wanting to gain experience in the arts and youth work; anyone passionate about the arts looking for a rewarding and exciting experience! We are looking to expand our pool of agency staff so this is a flexible role that will be managed by Hays agency.”
To apply email a short cover letter (addressing shortlisting criteria) and CV to hello@wearespotlight.com by Sunday 23rd May
The Rt Hon The Lord Mayor of the City of London and the Genesis Foundation invite you to join them for the fourth in the series of Cultural Conversations: ‘Culture, Technology and Innovation’ taking place online at 5-6:30pm on 24 May 2021. The Cultural Conversations series is a sequence of focused debates around Arts and Culture in the City of London. This fourth Conversation, the first of our renewed 2021 season, will be a conversation between: Javaad Alipoor, Artistic Director, Javaad Alipoor Company; Daniel Birnbaum, Artistic Director, Acute Art; Sarah Ellis, Director Digital Development, Royal Shakespeare Company; Suhair Khan, Strategic Projects, Google; Rich Waterworth, General Manager UK & EU, TikTok.
Season for Ex-Change returns with free events addressing the climate crisis
Ahead of COP26 this November, Season for Change aims to showcase the leadership of the cultural sector on the biggest issue of our time, through 15 artistic commissions and an open programme calling on artists and arts organisations to host events, artworks and actions across the UK to declare their commitment to the climate crisis.
After a successful programme in 2020, Season for Ex-Change is back with an 8-week online programme of free talks, events and workshops every Thursday about artists, activism and the arts sector’s role in the climate movement. Find out what’s up next, with more to be announced shortly.
Season for Change is led by Artsadmin and Julie’s Bicycle, supported by Arts Council England and Paul Hamlyn Foundation.
Having previously read Let Them Eat Chaos by Kae Tempest before watching this performance I arrived already appreciating their skill and talent. However watching them perform this live in front of a receptive audience with music to accompany gave new life to these words. Kae explores many contemporary issues in this 60 minute set through a continuous spoken word poem which weaves the lives of 6 strangers living on the same street.
Kae’s passion is tangible. They observe the world so astutely and are able to convey the feelings, worries and routine that we have become too used to living through. It would be an honour to watch Kae perform live however this filmed performance did well to capture the electricity they produced in the room.
Some excerpts below:
“The people are dead in their lifetimes Dazed in the shine of the streets But look how the traffic’s still moving System’s too slick to stop working Business is good, and there’s bands every night in the pubs And there’s two for one drinks in the clubs And we scrubbed up well Washed off the work and the stress And now all we want’s some excess Better yet, a night to remember that we’ll soon forget All of the blood that was bled for these cities to grow All of the bodies that fell The roots that were dug from the earth So these games could be played I see it tonight in the stains on my hands
[…]
In glamourous magazines, who’s dating who? Politico cash in an envelope Caught sniffing lines off a prostitutes prosthetic tits Now it’s back to the House of Lords with slapped wrists They abduct kids who fuck the heads of dead pigs But him in a hoodie with a couple of spliffs Jail him, he’s the criminal”[1]
[1] Kae Tempest, Europe is Lost, Let Them Eat Chaos
