Ways of Telling: The Sea is the Limit – workshop with University of York researchers, Maggie O’Neill and Simon Parker, together with the curator Varvara Shavrova, based around provocations on ‘what and where are the limits’, in relation to art, the transformative role of art, biography, imagination, politics and ethics. The workshop includes young people from Shpresa Programme and artists featured in The Sea is the Limit exhibition – Mohammed Sami and Susan Stockwell, engaging with migration, dispossession and borders. The exhibition is currently at York Art Gallery.
Floor Plans (journeys from there to here) is an interactive writing workshop with poet and lecturer in creative writing Siobhan Campbell, The Open University. Writing prompts will be given to start a conversation about ‘how did I get here and if this is here, where was there’? You can come and join any time between 12 and 5pm and you may wish to bring an object or a photo that represents your journey from ‘there to here’.
Image credit: Max Bashyrov
What does Participation Mean Across the Arts and Research?
This Workshop invites participants to get involved in practicing and reflecting on experiences of belonging, participation and exclusion in a multi-ethnic context. How do we address belonging and participation across the arts and research? How do arts-based methods support participation and collaboration?
To understand the benefits of cross-sector collaboration of the arts and research for participation, the workshop begins with the creation of physical images of participation and belonging. This will be facilitated by Erene Kaptani, Participatory Artist of the ‘Participatory Arts and Social Action Research’ (PASAR) project. Members of the research group will also reflect on their experiences of participation during workshop discussion. We will then explore how arts-based participatory methods can help understand questions of belonging through a conversation with the PASAR project team: Umut Erel (Open University), Maggie O’Neill (University of York), Erene Kaptani and Tracey Reynolds (University of Greenwich). Theatre Director and Lecturer Karen Tomlin will facilitate reflections on what makes a successful collaboration and the issues that may arise for artists located within the arts and the academy.
This event is part of the IAA/ ESRC funded project ‘Migration Making People, Making Places’ and it is part of a week series of events looking at questions of belonging, participation, migration and citizenship.
10 minute talk in Tate Modern galleries by Dana Olărescu and Bojana Janković, of performance company There There. This talk will be a personal reflection on the work by Július Koller Continuation/Stoop (Universal – Cultural Futurological Operation).
Afghan Camera Box (Kamra-e-faoree) with Farhad Berahman and b-side Arts, Dorset. A photographic installation commissioned for b-side festival, drawing audiences and participants into gentle conversation around identity, memory, home; alongside thoughts and concerns about displacement, migration and people and place.
Art House Wakefield installation of an evolving ecosystem, with a participatory mural by printmaker, Mohammad Barrangi Fashtani; and the collaborative tailoring of studio holders Hamid Reza Yavari Shoer and Helen O’Sullivan; together with recent studio holders, Wakefield City of Sanctuary; and recent commission, ‘Living Room’, by the artist, Juan delGado.
Are We Data? is an immersive installation produced by AWED, a research team led by Liz McFall and Darren Umney at the Open University, and David Moats (Linkoping University) working collectively with Sapphire Goss and London based software programmer, AV systems designer and musician, Thomas Blackburn. ‘Are We Data?’ questions the relationship between place and place-less ‘big data’ to explore whether digital data can really reveal ‘who we are’.
A Stitch in Time… durational installation combining collective stitching, conversations and film. With artists, Sonia Tuttiett, and makers from East London Textile Arts, filmmaker, Marcia Chandra plus language teachers; and OU researchers Inma Álvarez and Carlos Montoro leading on the AHRC-funded Language Acts and Worldmaking.
Gresham’s Wooden Horse Part 2 a participatory workshop with artist, Isabel Lima, and Isis (Newcastle) focusing on the second stage of a place-based, participatory arts and housing project with residents from the Gresham neighbourhood in Middlesborough (originally commissioned by mima and supported by Counterpoints Arts).
The Consul: A collaborative response by musicians, singers, performers and creative facilitators to the powerful themes of displacement and dispossession at the centre of Gian-Carlo Menotti’s intense 1950 opera, The Consul. As well as sampling and performing music from The Consul, we have created a space, through dialogue and reciprocal teaching and learning, to share lullabies and music from across the globe, including those from members of the public attending Who Are We?
The team includes opera singers: Becca Marriott and Marie-Claire op ten Noort, Iranian composer Shorheh Sakoory, choir-leader Naveen Arles, Musical Director, Andrew Charity and Director, Stephen Tiller from Opera Machine & Kent Opera – working alongside a chorus of migrants, asylum seekers and refugees from Sanctuary Voices.
With more displaced people in the world than ever before, this 1950 opera has never been more relevant as a case for human rights.Limelight Magazine, Oct 2017.
Floor Plans (journeys from there to here) is a collaborative participatory installation focusing on floor plans of homes relating to personal migratory histories, the architecture of memory and the body as a site of memory by artist Natasha Davis, poet & researcher Siobhan Campbell, and researcher Sara de Jong (Open University).
A Guide to the Hostile Environment floor trail mapping the everyday reality of ‘hostile environment’ policies – narrated through the recent Liberty (Civil Liberties and Human Rights) publication.