Book your tickets for the annual School of Music and Performing Arts Musical Thoroughly Modern Millie which will involve around 60 of our talented students – onstage, backstage, or playing in the live band!
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
This week, we spoke to our Senior Lecturer and Technical Director Andy Hurst about his work here at Canterbury Christ Church University, and his personal research.
Yesterday we were treated to a Lunchtime Concert by the amazing Broadway Choir, originated and conducted by Phil Hornsey. We started the performance with a stunning rendition of Circle of Life by Elton John and Tim Rice. The solos by Phillip McParland, Francesca Manklelow, and Bethany Hunt were wonderful and folded straight back into the ensemble.
Next we had two numbers from the hit musical Rent, Seasons of Love and No Day But Today. The numbers were beautifully harmonised with stunning solos from many students throughout.
After this we moved onto a brilliant medley of the best of Rogers and Hammerstein, using numbers such as The Hills are Alive (Introduced to us by Bethany Couch who if you closed your eyes sounded exactly like Julie Andrews!), Oklahoma and South Pacific.
Following this was the hauntingly performed Bring Him Home from Les Misérables by Claude-Michel Schönberg, and Alain Boublil. This version gave us a harmony which does not exist in the original but having heard this should do.
To bring the mood back up after this we heard a song from I Love You, You’re Perfect Now Change called Cantata for First Date, showing us two people getting ready for the first date. This was hilariously performed by all with great timing and facial expressions to boot.
The show was finished up with a lovely duo of Day by Day from Godspell and In the Beginning from Children of Earth. Once again we heard strong solos from members of the group, showcasing the wealth of talent that this company of singers has.
A special mention for Nicola, who was our guide through the musical numbers for the afternoon and gave us brilliant insights to the history of the pieces, as well as the wonderful Phil who not only accompanied the numbers but arranged some of the pieces as well.
Definitely a performance to look out for again, let’s see what they do next time. For videos from the performance, check out our Facebook page here!
Dancing the Marathon
Dancing in a run of shows is a marathon and not a sprint. Many contemporary dancers rarely get the chance to perform in shows that last longer than two nights in the same venue before packing up and leaving for the next town. So when we are faced with more than a few shows how does our body cope? We all know that over use of particular muscle groups can lead to injury so how do we avoid this when we are expected to repeat the same movements sometimes up to 4 shows a day and also keep the performance as fresh as the first time.
Through my work with Loop Dance Company I have had the opportunity to collaborate in the creation and performance of a critically acclaimed children’s immersive theatre production designed for the Christmas season now in its 7th year. Every year the piece is brand new; the concept brainstormed in the spring, the script written in the summer and the show devised in two weeks of intensive rehearsals in November. This year the ‘run’ was 63 performances, many days with 4 shows a day, every one of them will have the fresh eyes of our target audience aged 3-6 years who are a tough crowd to entertain at the most exciting time of year!
An adequate warm up is crucial of course but also one needs to be careful not to overdo the warm up. The warm up needs to change otherwise we risk muscle imbalance from this repetition on top of the performance repetition. The subsequent shows of the day also need a thorough warm up but one that is different to the last. I find myself moving from traditional dance warm up to yoga, fitness and Pilates style training and always end the day with a good stretch, even when the theatre manager is jangling his keys. My mantra is “my body my job……he’ll get over the wait if I smile!” Fuel and hydration are also essential factors, avoiding sugars and ‘fast energy’ and opting for complex carbohydrates that give a sustained energy release. Finally after care; a hot bath after the 4 show days, some time spent on my foam roller and when a ‘niggle’ appears then the ice and hot water bottle trick before bed is a must! Saying no to the offers of a little Christmas cheer until after the run is also a must. The actors may be able to say yes but for the dancer a night on the booze will mean dehydrated muscles the next day….it’s not worth the chance!
This year was tough for me as I started the rehearsal period with a flare up of an old injury on my Achilles. Any dancer knows that an Achilles Tendon injury is stuff of nightmares! Once it is damaged a long recovery is on the cards and at worst a spell in a cast! Entering the cold studio armed with thermal socks, layers to pop on when I’m not the focus of the directors attention and my trusty tennis balls to roll my feet (many of the ankle and calf attachments are in the sole of the foot!) without a doubt are the reason I made it through without breaking!
I am both choreographer and dancer in this project, working with the director to create the movement material. I have learnt how to stay in character, echoing movements and following the other characters when I’m not dancing, this may sound obvious but for dancers it’s not something we are used to doing. Interacting with the audience is essential in this style of work, they are young and scare easily so being gentle yet fun is a quality I try to emanate. It is vitally important to be honest with yourself as well as the director in the creative period and remember that doing a backflip might be fun once or twice however; you have to make it to the end of the run and then go onto the next job. Finding a balance between challenging your physicality but being realistic about your body’s limitations is a teetering fine line, the finish line is an ever moving idea!
Nina is the Founder and Artistic Director of Loop Dance Company, 0.5 Lecturer at Canterbury Christchurch University leading modules in Limón technique, Dance in Society and Professional Practice and a Visiting Lecturer at University of Roehampton. Nina is an advocate for the development of emerging dance artists and has mentored many fledgling artists. This form of career development formed the theme of her MA dissertation, exploring methods of best practice in an ever-shifting ecology.
Andy Hurst, One of our senior lecturers who specialises in Technical Theatre and Production Techniques has shared with us his Production notes from his latest works.
Over the past couple of years I have been grappling with the intangible. My work has focused on the creation of light objects either to be used as a scenic device for live performance or as a physical spatial entity for installation. Much of my time is spent:
- in front of a computer screen joining small boxes together with virtual cables as I try to coax the programming environment Isadora into doing what I want it to do, or
- in a pitch black room cocooned in a fug of dense theatrical haze trying to coax an array of data projectors into doing what I want them to do.
The results, when I get it right, are simple graphical elements projected through haze, which in turn create visibly tangible light objects within a space. For the most part, this phenomena isn’t new; just go to any rock gig, or watch a music performance on TV and you’ll instantly be aware of the huge amount of design work that has gone into creating visible lighting beams that frame the performance artists, or underpin the mood of the music. What my research does is examine the way that light objects can be used to interact with a performer, become an object of play within an installation, or act as a production tool to help define the direction of a devised piece of performance work.
In late 2014, I produced an initial piece of performance work with a colleague, Judi Vivas, from the University of Kent. Etched was shown as part of the Sounds New festival here in Canterbury, and since then it has been shown a number of times, most recently as part of UKC’s two day symposium Kantorbury Kantorbury, celebrating the life and work of Polish director Tadeusz Kantor. It’s due for one more outing next month as part of De Montfort University’s 2016 Cultural Exchanges festival in Leicester.
Etched on https://vimeo.com/94639397
More recently my research has turned to installation rather than performance. On Slow Violence uses a number of iPads as control surfaces to create a physical light environment that can be manipulated by visitors to the piece. The phrase ‘Slow Violence’ was first coined by Rob Nixon (2004) as a way of describing the persistent yet almost imperceptibly destructive nature of large-scale cataclysmic ecological events. He argues that both the physical and the societal impact of events such as deforestation, the accumulation of greenhouse gasses or large scale oil spills can never have the same immediate affecting impact as media friendly, high shock atrocities such as the graphic images of terrorism that seem to form the mainstay of current news broadcasting.
On Slow Violence is an artistic response to that point of view. The installation gives visitors the opportunity to play with a changeable environment – one that reacts immediately to the touch of a screen. Sounds change and warp to accompany this physical manipulation and create the sense of both natural and unnatural atmospheres. Five people can work together to control the solid light scene, almost as a visual instrument. Alternatively, the space can be explored as an individual, simply observing the landscape. The outcomes of such interactions on the light environment can be at once unpredictable, engaging, destructive, amusing and visually intriguing.
As a piece of installed artwork, it holds no answers of course, but does attempt to give ‘symbolic shape and plot to formless threats whose fatal repercussions are dispersed across space and time.’
Etched can be seen on Monday 29th February as part of De Montfort University’s Cultural Exchanges festival: http://www.dmu.ac.uk/cultural-exchanges-festival/index.aspx
On Slow Violence can be seen as part of Kent University’s International Festival of Projection on the 19th and 20th March 2016:
 Nixon, R. (2006) Slow Violence, Gender, and the Environmentalism of the Poor. Journal of Commonwealth and Postcolonial Studies. Vol. 13.2 -14.1 [online] Available at http://jcpcsonline.com/contents/v13n2.html Accessed 14th Jan 2016
Let me start by saying that i am not a christmas person. The christmas jumper my mum bought me has Darth Vader and the word Humbug across it, and my favourite christmas film is Die Hard.
I have just come back from seeing The Sparkle Thief by Cut Feather and i have to say, i am feeling very christmas-y indeed. The story follows two intrepid Elves who are trying to regain the Sparkle ( the physical embodiment of Christmas Spirit) after it is stolen by one of their own. Along their way they meet a myriad of good and bad characters ( including two of the Original reindeer Dasher and Dancer, Good King Wenceslas and the evil Ice Queen)
The songs are well written and catchy ( I have had the opening number stuck in my head since 2pm yesterday) and sung beautifully by the cast. The scenes have a great pace and show the versatility of the actors well. Also i must add that the scenery, effects and lighting work so well together, it truly makes it more magical.
I do not wish to spoil the story for anyone who will go to see the show (because you should), so i will simply say that this wonderful show is brilliant for all ages and show not be missed.
This year we present three parallel research seminar series at Canterbury Christ Church University and Turner Contemporary in Margate:
Research Series in Music: Based in Canterbury, covering topics such as historical performance and Musicology.
The seminars are held on Thursdays, 17:00–18:00 in the Powell Lecture Theatre, Canterbury Christ Church University (please note that the 29 Oct. will be in the Laud Building, Lg16). These lectures last approximately 45 minutes, followed by a question and answer session. They are open to the public and are followed by an informal reception.
- 15 Oct. Dr. Geoffrey Chew (Royal Holloway) ‘Humoresque? You must be joking’
- 29 Oct. Dr Robert G. Rawson (CCCU) ‘Žižek, Freud and Kafka—analysing matriarchy in Janáček’s Jenůfa and Káťa Kabanová’
- 12 Nov. Dr. Ann Van Allen-Russel (Trinity-Laban) ‘The 18th-century origins of musical copyright law’
- 3 Dec. Dr. Vanessa Hawes (CCCU) ‘: ‘What can empirical musicology do for analysis?’’
Oscillate at Turner Contemporary: based at this world-leading art gallery in Margate, this series of public events is designed to share ideas and creative work in the areas of sound, music, and listening in the 21st century.
Through talks, performances, and screenings, the series aims to create a platform for thinkers and practitioners at the forefront of their fields to share their work. Building upon an already strong foundation of visual art and design activity in Thanet, these events will explore the significance of sound and music in contemporary culture. Timings of events connect with various exhibitions at Turner Contemporary: please see below for details.
- 10th October, 18.00-19.00 –Oscillate at Turner Contemporary: Evan Parker (free for CCCU staff and students)
(Part of the ‘Risk’ opening day celebration at Turner Contemporary )
World-renowned saxophonist Evan Parker has devoted his career to free improvisation, a musical practice situated at the edge of the unknown. In this special session at Turner, Parker will respond to the exhibition theme of ‘risk’ through a personal take on Samuel Beckett’s 1958 work,”Krapp’s Last Tape”.
- 2nd December, 18.00-19.00 –Oscillate at Turner Contemporary: Matthew Herbert (free for CCCU staff and students)
Matthew Herbert’s use of sound to engage directly with social and political issues has made him one of the most relevant musical voices of his generation. This artist’s talk will reflect on a creative practice that is characterised by risk on multiple levels.
‘Performing Arts Series: In Dialogue with…’ Based in Canterbury, will focus on ‘Affective Engagement through Performance’. Each seminar will explore this in relation to a subsidiary area such as affect and risk, body, technology and will culminate in a one-day symposium in July.
- Wednesday 26 Oct 2015, 13.00-14.30 – Members of CCCU Staff
- Wednesday 25th Nov 2015, 13.00-14.30 – Dr. Angela Pickard with guest speaker
- Wednesday 24th Feb 2016, 13.00-14.30 – ‘Psychophysical Acting’ Dr. Kene Igweonu with Philip Zarrilli
- Wednesday 23rd March, 2016: 13.00-14.30 – Affective engagements in British Theatre Marissia Fragkou and Martin Heaney
- Wednesday 11th May, 2016: 13.00-14.30 – Andy Hurst with Melissa Trimingham
- Early July (tbc) ‘Affect, Risk and Performance’ one day symposium
5 September 2014: Paper presentation: Fragkou, M. ‘ “A Glimpse into Some Other World”: Stan’s Cafe’s Theatre’, Annual Theatre and Performance Research Association (TaPRA) conference, Royal Holloway, University of London.
13th-14th September 2014: International Conference – Schoenberg at 140, organised by Dr. Stelios Chatziiosifidis, MDg01, Canterbury Christ Church University, Canterbury Campus
27th September 2014: Performance: ‘Friendo’ @ The Network Music Festival, featuring Dr. Panos Ghikas, Jennifer Walshe and Johannes von Weizsäcker. Digbeth, Birmingham http://migrorecords.com/friend
28th September 2014: Keynote Lecture, Laboratory of Spring Symposium, Torun, Poland: Dr. Nicholas McKay. “The Rite Signs: semiotic readings 100 years on”.
October-December, 2014: Research Leave Project: Dr. Kene Igweonu: “From Posture to Acture: Feldenkrais Method and Performance Training”. University of Lagos, Nigeria
The Royal Society for Public Health Arts and Health Awards 2014 for the Music for Life Project (Hallam, Creech, McQueen and Dr. Maria Varvarigou)
October, 2014: Publication: ‘Quotation, Psychogeography, and the ‘Journey Form’ in the Music Theatre of Klaus Lang and Chico Mello’, Contemporary Music Review, special issue Musical Borrowing and Quotation in the Twentieth and Twenty First Centuries, ed. by Pwyll ap Siôn and Dr. Lauren Redhead, 33.2
12th October 2014: Performance by Dr. Lauren Redhead: Automatronic Organ and Electronics Recital, London, with Alistair Zaldua (electronics). New works by R. Armstrong (US), Mic Spencer (University of Leeds) and Marcello Messina (University of Leeds/Federal University of Acre, Brazil) http://automatronic.co.uk
16th October 2014: Research Seminar in Music organised by Dr. Robert Rawson – Claire Holden (Oxford and The Orchestra of the Age of Enlightenment) ‘The Long and the Short of it: a reinterpretation of articulation in Beethoven’ 17:00-18:00, Lg 16, Canterbury Christ Church University, Canterbury Campus
16th-24th October 2014: Performance/Composition: ‘Residual Bits of Sunlight’ by Dr. Sam Salem with Andersson Dance, Kulturhuset, Stockholm, Sweden. (Review in SvD Kultur Interview / Profile on Musica Kaleidoscope)
2oth October 2014: Performance by Dr. Lauren Redhead: Automatronic Organ and Electronics Recital, Canterbury Festival, CCCU, with Huw Morgan (organ) and Alsitair Zaldua (electronics). http://automatronic.co.uk
23rd October 2014: Research Seminar in Music – Dr. Lauren Redhead (Canterbury Christ Church University) ‘Dual Roles and Split Personalities: Undertaking Practice-Led Research in Interdisciplinary and Collaborative Contexts’ 17:00-18:00, Lg 16, Canterbury Christ Church University, Canterbury Campus
24th October 2014: Performance/Composition: ‘Too late, too far’ by Dr. Sam Salem @ The Open Circuit Festival, Liverpool.
24th October 2014: Performance: ‘Broadstairs’ by Chris Weisman, performed by Robert Stillman. The Sidney Cooper Gallery, Canterbury
30th October 2014: FREE RANGE organised by Dr. Sam Bailey. Performance by BLUEBLUT (Vienna, Austria). Mrs. Jones’ Kitchen, Canterbury
1st November 2014: organ and electronics performance by Dr. Lauren Redhead @ di_stanze festival, University of Leeds. Electronics with Alistair Zaldua. New works by Rob Canning (Bournemouth University) and Thor Magnusson (University of Sussex).
6th November 2014: Research Seminar in Music organised by Dr. Robert Rawson – Professor Eric Clarke (Oxford) ‘Music, Empathy and Cultural Understanding’ 17:00-18:00, Lg16, Canterbury Christ Church University, Canterbury Campus
6th November 2014: FREE RANGE organised by Dr. Sam Bailey. Performance by Tim Long (Senior Lecturer, MAD) and Masato Kakinoki (PHD student within MPA). Mrs. Jones’ Kitchen, Canterbury
7th-10th November 2014: Paper Presentation, Interdiscplinary.Net Global Conference, Prague. Andy Hurst: “iPad Svoboda”.
11th November 2014: Performance by Robert Stillman with the Mikkel Ploug Group. Paradise Jazz, Copenhagen, Denmark
12th November 2014: Performance: Dr. Kasia Lech. “Bubble Revolution” Anselm Studio 1, Canterbury Christ Church University
13th November 2014: FREE RANGE organised by Dr. Sam Bailey. Performance by Zone Poetry Collective. Mrs. Jones’ Kitchen, Canterbury
20th November 2014: Research Seminar, University of Leeds. Dr. Lauren Redhead: “Dual Roles and Split Personalities: Undertaking Practice-Led Research in Interdisciplinary and Collaborative Contexts”
20th November 2014: FREE RANGE organised by Dr. Sam Bailey. Performance by Knight, Jarvis and Ponsford trio. Mrs. Jones’ Kitchen, Canterbury
23rd November 2014: Performance: Evan Parker’s ’12 for 12 Musicians’ involving Dr. Matthew Wright @ The Calder, Wakefield, as part of the Huddersfield Contemporary Music Festival http://www.hcmf.co.uk/event/show/440
27th November 2014: FREE RANGE organised by Dr. Sam Bailey. Performance by Begin Again Again and the Leon String Quartet. Mrs. Jones’ Kitchen, Canterbury
28th-29th November 2014: Performance/Composition: Inside/Outside by Dr. Matthew Wright with The Six Tones ensemble (Sweden / Vietnam) and choreographer Marie Fahlin (Sweden) @ The Inter Arts Centre, Malmo, Sweden (3 performances) https://myspace.com/thesixtones/video/inside-outside-clip-1/109178745
29th November 2014: BBC Radio 3 ‘Hear and Now’ Broadcast: Dr. Matthew Wright, as part of Evan Parker’s ’12 for 12 Musicians’
30th November 2014: Research Seminar, Inter Arts Centre, Malmo, Sweden. Dr. Matthew Wright: ‘Afro-Acousmatic: Post-DJ approaches to the turntable/laptop interface’
December 2014: Publication: Dr. Lauren Redhead. ‘False Relationships: Nicola LeFanu, I am Bread,’ in Sounding Food and Music, ed. by Laura Seddon (Brighton: Contemporary Connections, 2014). Linked with Sounding Food and Music Concert:http://theoldmarket.com/shows/sounding-food-music/
4th December 2014: FREE RANGE organised by Dr. Sam Bailey: Performance including Robert Stillman. Mrs. Jones’ Kitchen, Canterbury
6th December 2014: Performance/Composition: ‘Leap of Death’ by Robert Stillman. Cinecity Brighton Film Festival
11th December 2014: Research Seminar in Music organised by Dr. Robert Rawson – Professor John Rink (Cambridge) ‘Musical Performance as Creative Practice’ 17:00-18:00, Lg 16, Canterbury Christ Church University, Canterbury Campus
11th December 2014: FREE RANGE organised by Dr. Sam Bailey. Performance by Bison Bonasus. Mrs. Jones’ Kitchen, Canterbury.
8th January 2015: FREE RANGE organised by Dr. Sam Bailey. Performance by SLAP, featuring Tina Krasevech, Dr. Sam Bailey, Tom Jackson (PHD student within MPA) and David Leahy. Mrs Jones’ Kitchen, Canterbury
29th January 2015: Research Seminar in Music organised by Dr. Robert Rawson – Dr Catherine Haworth (University of Huddersfield) ‘Bodies of Evidence: female musical performance and the politics of representation in classical Hollywood’ 17:00-18:00, Lg16, Canterbury Christ Church University, Canterbury Campus
29th January 2015: Performance/Composition: ‘Too late, too far’ by Dr. Sam Salem @ IGNM Concert Series, Basel, Switzerland
30th January 2015: Performance/Composition: ‘Too late, too far’ by Dr. Sam Salem with Ensemble Vortex, Geneva, Switzerland
February 2015: Book chapter Fragkou, M. ‘Stan’s Cafe’ in Tomlin, E. (ed.) British Theatre Companies: From Fringe to Mainstream, Vol. 3. London: Methuen, pp. 207-230.
12th February 2015: Research Seminar in Music organised by Dr. Robert Rawson – George Kennaway (University of Hull) ‘Authentic or sincere? – Historically informed performance as a presentation of the self’ 17:00-18:00, Lg16, Canterbury Christ Church University, Canterbury Campus
20th February 2015: Paper – Dr. Lauren Redhead ‘The Beautiful and the Political as Commitment and Representation’ 14:30-15:00, RHB 167, Department of Music, Goldsmiths College, University of London, part of the ‘Compositional Aesthetics and the Political’ conference.
20th February 2015: Paper – Dr. Panos Ghikas ‘What music, what politics?: How corporate work and academia made me improvise more’ 15:00-15:30, RHB 167, Department of Music, Goldsmiths College, University of London, part of the ‘Compositional Aesthetics and the Political’ conference.
20th February 2015: Session chairing – Dr. Matthew Wright ‘Session 3: Staging Improvisation’ 16:00-17:30, RHB 167, Department of Music, Goldsmiths College, University of London, part of the ‘Compositional Aesthetics and the Political‘ conference.
26th February-1st March 2015: Dr. Maria Varvarigou: Paper Presentation: Promoting collaborative playful experimentation through group ear playing in Higher Education. Reflective Conservatoire Conference: Creativity and changing cultures (Guildhall School of Music and Drama)
28th February 2015: Dr. Lauren Redhead: Performance of music for organ and electronics at St Laurence, Catford, 4.30pm – Automatronic Spring Festival 1 – with KE support from CCCU
March 2015: Fragkou, M. Book Review of Mireia Aragay and Eric Monforte’s Ethical Speculations in Contemporary British Theatre in Studies in Theatre and Performance, 35:1, 103-105.
2nd March 2015: Dr. Lauren Redhead: Performance of music for organ and electronics at Pembroke College, Cambridge, 7.30pm – Automatronic Spring Festival 2 – with KE support from CCCU
3rd-14th March 2015: Dr. Lauren Redhead: Drawing Towards Sound exhibition, Stephen Lawrence Gallery, Greenwich, curated by David Ryan. Including her graphic scores ‘vertical features’ and graphic notation performance videos of ‘[untitled]’ by Caroline Lucas and ‘Image, Music, text’ by Adam Fergler
7th March 2015 onwards: Composition: ‘Single Combat‘ by Dr. Matthew Wright + Roger Redgate released on the WIRE Tapper with the April edition of the WIRE magazine.
12th March 2015: In Dialogue with.. all Performing Arts Staff. 1pm lunch/refreshments, 1.30-3pm seminar. Each member of Performing Arts staff shares their current research and activity in 5 minutes with 5 minutes questions. Canterbury Christ Church University
12th March 2015: Dr. Maria Varvarigou: ‘Informal learning practices of popular musicians within music classroom and in one to one tuition. Royal College of Music, as part of the Masters Programme in Performance Science
12th March 2015: Research Seminar in Music organised by Dr. Robert Rawson – Professor Nicola Dibben (University of Sheffield) ‘Bjork’s Biophilia‘ 17:00-18:00, Lg16, Canterbury Christ Church University, Canterbury Campus
14th March 2015: Dr. Lauren Redhead: world premiere of ‘parergons’ for piano trio, 840 concert series, St James, Islington, London, 7.30pm
14th March 2015: Chris Price: performances of catches and glees, The Parrot, Canterbury
31st March 2015: Performance lecture: Dr. Lauren Redhead: ‘music for semionauts’, Sidney Cooper Gallery, 6pm
April 2015: Installation/Composition: ‘Inside Outside’ by Dr. Matthew Wright + The Six Tones @ Hoi An, Vietnam
11th April 2015: Dr. Lauren Redhead: Performance of music for organ and electronics at St Laurence, Catford – Automatronic Spring Festival 4 – with KE support from CCCU, 4.30pm
11th April 2015: Composition: ‘English Landscape Painting‘ by Dr. Matthew Wright performed by Pablo Moreno @ DePaul University, Chicago, USA
14th-18th April 2015: Paper Presentation as part of symposium on ‘Strategies for increasing motivation during instrumental learning’: Encouraging collective experimentation and improvisation through Group Ear Playing in Higher Education. 9th International Research in Music Education Conference, Exeter
14th-16th April 2015: Workshop/Performance: The Battle Of Boat, Anselm Studios, Canterbury. Cut Feather Theatre in association with Gateways To WW1 and Dr Emma Hanna (University of Greenwich) workshop the latest work by Ethan Lewis Maltby and Jenna Donnelly – with KE support from CCCU. www.thebattleofboat.com
25th April 2015: Composition: ‘Totem for Gobi-New York’ by Dr. Matthew Wright, performed by Evan Parker + Matthew Wright @ Anselm Studio 1, Canterbury Christ Church University, Canterbury Campus, UK
11th May 2015: Performance Lecture: ‘Afroacousmatic’ by Dr. Matthew Wright, Centre for Practice-Based Research in the Arts, Canterbury Christ Church University
7 May 2015: Research Seminar on Polish theatre in the context of English-language tradition as 2015 marks 250th anniversary of Polish public theatre. Speakers: Prof Paul Allain (University of Kent) ‘To the Poles! – the reception of Polish theatre in the UK’ and Dr Kasia Lech (CCCU) ‘Let’s foreignize! English language and its culture in recent stagings of Polish national dramas’
May 2015: Fragkou, M. Entry on the ‘Ethics of Voting’ in Acts of Voting: A Lexicon in Contemporary Theatre Review’s Interventions online section: More info
May 2015: Dr. Marissia Fragkou: Book contract for monograph secured with Bloomsbury Methuen (Drama Engage Series) entitled Ecologies of Precarity in Twenty-First Century Theatre: Politics, Affect, Responsibility. The monograph will offer a critical investigation of the reinvigoration of the political in contemporary British theatre. By focusing on the spiralling of uncertainty in the new millennium, the study will make a case for reading precarity as a political theatrical trope which carries the potential to re-animate our understanding of the ‘human’ and communal responsibility for the lives of Others.
20th May 2015: Guest Performance Lecture: ‘Afroacousmatic’ by Dr. Matthew Wright, City University, London
21st May 2015: One-day Symposium: On the New Technical Literacies at Play Within Contemporary Live Performance, featuring Dr Nic Hunt (Rose Bruford College), Jamie Griffiths (Digital Artist, Film Director, Performer), Dr Scott Palmer (University of Leeds). Canterbury Christ Church University, Anselm Studio 1, 9.30am-4pm.
4th June 2015: Research Seminar in Music organised by Dr. Erica Buurman – Dr. Jennifer Walshe (Brunel University) ‘Composing in the Extended Field’, 5pm-6.30pm, Mdf04, Canterbury Christ Church University, Canterbury Campus
4th June 2015: Chris Price: The Folly of the Farce is Done – Death and Grief in Convivial Song Durham University Centre for 19th-Century Studies
10 June 2015: Research Seminar. Speaker: Professor David Owen Norris (University of Southampton) ‘The Reverend Thomas Oldfeld Bartlett, the composing Vicar of Swanage (1788-1841)’ and Chris Price (CCCU) ‘”Unsung Singers”: the musicians of Canterbury 1770-1865’. MDf08 5pm.
29th June 2015: MPA Research Festival (DAY 1): Broadstairs Campus, Canterbury Christ Church University: Cg47 + Cg48, 10.30am-5pm
July 2015: Dr. Marissia Fragkou: Book chapter ‘Precarious Citizenship in Rimini Protokoll’s Prometheus in Athens’ in Hager, P. and Zaroulia, M. (eds.) Performances of Capitalism, Crises and Resistance: Inside/Outside Europe. Basingstoke: Palgrave, pp. 171-192.
July-August 2015: Performance: Yangalang Theatre, Edinburgh Fringe Festival. Cut Feather Theatre co-produce Yangalang Theatre’s 2015 Edinburgh Fringe Festival performance – with KE support from CCCU. More info
1 July 2015: ‘Performance, Ecology, Responsibility’ symposium organized by Dr Marissia Fragkou and Dr Kasia Lech in partnership with the Centre for Practice-Based Research in the Arts (CCCU) and ETRN (Kent). (Powell Building). The symposium is followed by a round-table discussion on ‘Future Ecologies’ with guest speakers (St Greg’s). More Info
2nd July 2015: MPA Research Festival (DAY 2): North Holmes Road Campus, Canterbury Christ Church University: Mdg01, 10.30am-5pm
9-11 July: Chris Price: “‘Not of Heroic Build’: The Literate Glee” 10th conference on Music in 19th-Century Britain, Royal Conservatoire of Scotland, Glasgow.