Unreal-time improv and actual-timeline composition on the 17/11/2016
Crossing Over is a choral composition by PhD composer and sound artist Emily Peasgood. Marking the anniversary of approximately 140 enslaved Africans on the slave ship Zong on 29 November 1781, Crossing Over will reference the transatlantic slave trade and the crossing over of migrants into the UK. Crossing Over will be performed at 4pm 29 November 2016 at Turner Contemporary.
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.
It’s that time of the week again! Here is our interview with Robert Stillman who teaches Commercial Music over on our Broadstairs Campus.
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.
The next in our series of Tutor Tuesdays is Stina Sommerlade, one of our lecturers in dance. Find her at @
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