Conference papers and workshop in China and Hong Kong
Daniel Taylor is working with Lauren Redhead on an internship project for Organ and Electronics.
This week we talk to one of our Senior Lecturers in Music, Dr Vanessa Hawes!
One of our senior lecturers Marissia Fragkou has been giving some brilliant talks and has more upcoming. Have a look below and check out the weblink for more details!
29 April 2016: ‘Precarity or Crisis? Navigating what’s Overwhelming’, Crisis in Excess? Peforming Europe Today, event organised by Inside/Outside Europe Network, University of Winchester.
This provocation will be responding to the event’s call for revisiting the term crisis as ‘excess’. Drawing on my current research on precarity and performance, I will make a case for understanding contemporary notions of crisis through the framework of precarity. In doing so, the paper will discuss post-1990s understandings of notions of crisis in relation to identity, biopolitics and their affective registers.
21 March 2016: ‘Chorality and Rituality in Contemporary Theatre’, Guest lecture, Department of Theatre, Performance and Media Studies, University of Ghent, Belgium.
This guest lecture will present work from my recently published chapter ‘Precarious Citizenship in Rimini Protokoll’s Prometheus in Athens‘ (Performances of Capitalism, Crises and Resistance, ed. M. Zaroulia and P. Hager, Palgrave, 2015). I will be looking at connections across the use of chorality in contemporary European theatre and its intersections with street politics and understandings of precarity, public space and radical democracy.
10 March 2016: ‘Between “childhood crisis” and “masculinity in crisis”: Precarious Representations of children and Young People on the Contemporary Stage’, London Theatre Seminar
This paper emanates from a book project entitled Ecologies of Precarity in Twenty-First Century Theatre: Politics, Affect, Responsibility (Methuen, Drama Engage) which examines the proliferating representations of precarity in the theatre of the new millennium as iterations of an affective politics against discourses which render human lives disposable. This talk seeks to explore some ways in which contemporary theatre negotiates identity politics and human life. Taking the 1990s ‘childhood crisis’ and ‘the crisis of masculinity’ in conjunction with Judith Butler’s understanding of precarious life (2004; 2009; 2013) as its key departure points, the talk will consider the figure of the precarious child/young person as a crucible of ‘crisis’ and a conduit of ethical ambivalence.
The next in our quest for helping you find out the most about our lecturers here at Canterbury Christ Church University is Chris Price!
What is your teaching specialism?
Vocal Studies, Critical Studies
What made you want to start teaching here at Christ Church?
I originally joined the University to start up the Performing Arts degree programme. It was an exciting career move for me – I’d been teaching in secondary schools up till then – and the opportunity to get a new venture going in an innovative Department was too good to miss.
What kind of research do you do outside of university?
I’m a performing musician as well as an educator – I sing in the Cathedral Choir here in Canterbury – and spend quite a bit of my time finding and transcribing all sorts of music. Recently my work has focused on the Canterbury Catch Club. It was a musical/social club which thrived in the city from 1779 to 1865, and it’s a fascinating slice of the city’s cultural and social history. So far, I’ve produced a book and CD, mounted several performances, including a full-scale re-creation of a typical Catch Club evening – updated for the 21st century! – as part of last year’s Canterbury Festival), and curated an exhibition in the city Library (the Beaney House of Art and Knowledge) which ran for two months from September to November last year. It’s also the subject of my PhD studies, and I’ve been delivering conference papers as far afield as Salzburg, Glasgow and Venice.
How do you feel this work influences your teaching?
Well, the most obvious example is the fact that my students often find themselves singing – much to their surprise – some music which has been completely unknown for about 150 years. So far, it all seems to have gone down very well.
There’s another sense in which my work has an effect on our students, though, and that is the very strong feeling I think it gives that studying at CCCU isn’t just a question of getting a qualification; I think our students get a sense of place and a feeling of belonging to a community – not just academic, but cultural and historical. I’d hope they develop an affection for the place which goes beyond their few student years here.
What would you say to any prospective students coming to Canterbury Christ Church?
Make the most of us! We have a truly remarkable range of curricular, extra-curricular, and enrichment activity running throughout the year: performances by fellow-students and professional practitioners; visiting professional residencies; links with a major Arts festival (the Canterbury Festival and its Fringe); two other professional theatres in the city offering year-round programmes of dance, drama and music in the city, with which we have good relations; and the combined creative energies of you, our students. Get stuck in. Don’t think that a degree course is just a set of lectures interrupting a social life; what you give to your years of study at CCCU will determine what you get from them. What you do here will go a long way towards defining not only the kind of professional practitioner you become, but the kind of human being you are.
One of our lecturers, Chris Price will be presenting a paper entitled “The Canterbury Catch Club: a performance of class” at a conference on Iconography of the Performing Arts, entitled “Decoration of Performance Space: Meaning and Ideology”, which will be held from 17 to 20 May 2016, at the Fondazione Giorgio Cini in Venice.
This paper will interrogate the well-known print of the Canterbury Catch Club dating from 1826 in order to reveal the performative essence of the picture, aiming to show that this carefully calibrated representation is concerned, above all, to depict the club its members wanted to present both to themselves and to the outside world. With all the trappings of nineteenth-century class and culture clearly on display, it is a masterclass in the performance of class.
This is a link to the Call for Papers: http://www.ictmusic.org/group/103/post/13th-symposium-call-papers
It’s that time of the week again! Here is our interview with Robert Stillman who teaches Commercial Music over on our Broadstairs Campus.
Once again we were treated on this dreary afternoon to the wonderful Top Voices, directed by Chris Price. The pieces, which had been sorted into wonderfully named categories such as Love and Leaving and Slightly Fantastical, gave us a slightly eclectic but beautifully arranged concert.
Some were soft and lilting, such as the beautiful Lullaby ( Billy Joel), a song about remembrance. The gentle harmonies managed to even bring out the sunshine at one part, which i could stand to say was not a coincidence. Others were uplifting and humorous like the brilliant Poisoning Pigeons in the Park
(Tom Lehrer) which joyfully describes exactly what it says on the tin in an upbeat and jazzy manner.
The pieces were all performed by the group in it’s entirety, excepting two numbers. A joyful ode to the post box entitled Pillar to Post ( Flanders & Swann) and the hauntingly lovely When I Was in My Prime (Michael McGlynn). The latter, a wonderfully sung trio was accompanied by the slightest of drones from the rest of the group, enhancing the sound and adding a layer of depth to the number.
Kudos to Hannah Jacobi, who conducted a couple of the number with ease, and to Sara Wilson, who not only conducted but arranged a few of the numbers, including a glorious rendition of Summertime (Gershwin) which could very easily have slotted into the original musical Porgy and Bess without any trouble at all, and i doubt George or Ira Gershwin would mind at all.
Anyone who didn’t manage to see this amazing choir should try and find time to see them in the future, as you certainly do not want to miss this twice!
On Saturday 20th February the Royal Festival Hall will present two of Paul Patterson’s works with the Cambridge Philharmonic Orchestra and live life-sized puppetry by Theatre Gnaffel.
Paul Patterson’s adaptations of ‘Little Red Riding Hood’ and ‘The Three Little Pigs’ from Roald Dahl’s Revolting Rhymes are set to delight audiences of all ages.
Here is the Roald Dahl website page highlighting the show also: http://www.roalddahl.com/blog/2016/february/little-red-riding-hood-and-the-three-little-pigs
Paul Patterson is a Visiting Professor of Composition at Canterbury Christ Church University, and works with students across our Undergraduate and Postgraduate programmes. We wish him the best for this programme on Saturday!
Here is the link to book tickets and check out the details! http://www.southbankcentre.co.uk/whatson/little-red-riding-hood-and-the-94957
|Little Red Riding Hood and The Three Little Pigs …
Saturday 20 February 2016 Little Red Riding Hood and The Three Little Pigs Theater Gnaffel Royal Festival Hall