www.tangleinternational.com “ I have walked that long road to freedom. I have tried not to falter; I have made missteps along the way. But I have discovered the secret that after climbing a great hill, one only finds that there are many more hills to climb. I have taken a moment here to rest, to steal a view of the glorious vista that surrounds me, to look back on the distance I have come. But I can only rest for a moment, for with freedom comes responsibilities, and I dare not linger, for my long walk is not ended. ” Contents

Section One: About Tangle About this Discovery Pack 5 About Tangle 6 Inspiration behind Tangle’s Township Theatre Style 7 About Tangle’s approach to making theatre 9 About Tangle Company 10 About Tangle Productions 11

Section Two: Resources General facts about South Africa – society and geography 14 Languages of South Africa 15 Arts and Culture in South Africa under apartheid 16 Interview: theatre through the eyes of a South African 18 Historical facts: South Africa 20 Key facts: apartheid 22 Nelson Mandela’s early life 23 Nelson Mandela and ‘the struggle’ 25 Role models from around the world 27 Geography, Philosophy, Language and Ubuntu 29

Section Three: Activity Notes Activities for all Key Stages 32 WATER, BREAD AND SALT performance extract 36 Create your own Long Walk to Freedom 38 Create your own memory poem 40 Create your own speech from the dock 41 Themed exercise: ensemble theatre 42

Section Four: Arts Award About Arts Award 44 How WATER, BREAD AND SALT links to Arts Award delivery 45 Suggested session plan linked to Arts Award 46 Reviewing a performance 49 Resources for session plan: reviewing a performance 51 Resources for group discussion 52 Interviews for use with Arts Award 53 Interview: Directing 54 Interview: Composing 57 Back to Contents

Section one About Tangle Back to Contents

About this Discovery Pack

This Discovery Pack is designed to accompany the latest touring project from Tangle Company, our professional ensemble. They have toured South West England every year since 2013 with a short performance of a newly commissioned poetic work with song. This pack is designed as a first entry point to our work and presented in our distinctive, multi-lingual ‘township theatre’ style. This year we present WATER, BREAD AND SALT, a celebration of the life of Nelson Mandela, adapted from his own writings. Each section of this pack includes suggestions for formal and informal activities based around the themes of the work. There are suggested classroom activities, designed to enable teachers to use content within future lesson planning. Working to address the National Curriculum, suggested classroom activities extend into English, drama, music, PE, dance and geography. There are also links to citizenship, PSHE and the spiritual, moral, social and cultural education (PSHE) agenda.

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About tangle

Tangle is an African Caribbean theatre company with a special focus in South West England. We’re based in Swindon, Wiltshire.

Our work inspires people of all ages and Respect – for each other, for our communities abilities to appreciate the excellence, breadth and our stakeholders; for everybody who is and diversity of theatre. involved in a Tangle project regardless of their experience, knowledge, ‘learnt views’ or At Tangle we encourage people of all kinds ideas. to celebrate the positivity of the UK as a multi-racial nation. In every community we Ubuntu – a Xhosa word literally meaning visit, alongside the work we present, Tangle’s ‘I am, because we are’. The principle of artists try to find straightforward steps to ‘ubuntu’ is ‘how can one of us be happy if all help people to overcome social barriers in a the other ones are sad?’ Ubuntu implies that friendly, non-judgemental way. we are interdependent, that we are stronger together, that we are all equal, and that we Our company values reflect the need for work as a strong team to generate success. generous, unembarrassed, positive two-way conversations between the Tangle artists that When we visit, Tangle’s team of practitioners deliver, and the people that enjoy our work. share different elements of their own culture Our values are: with people who would not normally come into contact with them. This goes some way – reaching out to all people, Generosity to building bridges, forging relationships and regardless of ability, background and encouraging genuine collaboration between knowledge, and having a listening ear for all, so people and artists of many racial identities. that, regardless of attitude, people of all kinds can grow understanding of, and appreciation for We welcome artists of all ethnicities into multi-racial theatre. the region, delivering creative arts projects that open up new conversations and fresh – ensuring that we Connectivity possibilities for cross cultural collaboration. communicate rigorously, so that our networks in South West England are in effective dialogue at all times, and in a strong position to measure the effect and impact of our work. This will help us better present our case for social and cultural change in future.

Excellence – ensuring that all our activities are of the highest quality, inspiring audiences of all ages and stages.

6 Back to Contents The Inspiration behind Tangle’s Township Theatre Style

Founded on cross cultural exchange, Tangle creates theatre that combines Southern African township and collective theatre techniques with Western approaches, bringing together scripted dialogue, storytelling, live music and song, poetry and dance in a distinctive style drawing equally on the traditions of both continents. All Tangle’s work is multi-lingual with the universal values of our touring productions reflected in the work of Tangle Company, our virtuoso ensemble. In South Africa during the 1950’s it was difficult for black people to establish a public voice, so theatre became a powerful and often dangerous way for people of all racial heritages to protest against legalised racial segregation - which we call ‘apartheid’. During this decade, some great theatre makers and writers, such as Ian Bernhardt and Athol Fugard began to make work. Few of these plays were performed, though, in the areas where black people actually lived. Most lived in ‘townships’ - suburbs made up of shanties and cinder-block homes, often situated

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near large cities like Johannesburg. There were schools and churches, but very little in the way of organized entertainment. In Zimbabwe, most theatres and playhouses were built during the colonial era on Western and European styles. This made them inaccessible to the majority of indigenous theatre groups and indigenous African and local audiences. In the 1960’s a vibrant movement called ‘township theatre’ began to evolve when plays were specifically developed and performed for, and with, the residents of South African townships. Gibson Kente is often seen as the ‘father’ of township theatre. In Port Elizabeth, Athol Fugard and his wife Sheila began a small theatre group called the Circle Players. Later on, Fugard worked with John Kani and Winston Ntshona. With them he created Sizwe Banzi is Dead and The Island, which would go on to win international acclaim. As repression grew and the voices of political activists like Nelson Mandela and Oliver Tambo were increasingly silenced, theatre became an even more important medium of voicing the struggle to challenge the ‘apartheid state’. Theatre was a way for people of all kinds to express frustration and anguish. New and innovative venues began to emerge and productions of controversial local work found their homes in various places across South Africa. As well as landmark theatres emerging such as The People’s Space (1972), The Market Theatre (1974) and The Baxter Theatre Centre (1977) there was an explosion of other venues and community arts groups in townships such as Soweto. These helped to shape the political agenda of many South Africans. After South Africa’s new freedom in 1994, there was a shift change around theatre making. Twenty years on, new talent is growing fast and plays written today encompass a broad range of global themes, and the traditions reverberate across the world. The use of powerful political and social messaging expressed with minimal sets and through ensemble working is a feature of all Tangle’s work today. 8 Back to Contents About Tangle’s approach to making theatre

Tangle has picked up on this theme of inaccessibility and used it to make our touring work more relevant to audiences today, and particularly to people living in parts of South West England who might not have a theatre on their doorstep. We’re following the pattern of most of Zimbabwe’s indigenous theatre companies, like Amakohosi Theatre in Bulawayo, by creating theatre that can be performed not only in conventional theatre spaces but in community centres, schools, halls and even outdoors. This means that our work is adaptive to different environments. When we tour with Tangle Company, our ensemble, we don’t use costume, and there is no lighting and there are no sets. This gives the words, music and actions that the actors present greater weight and meaning; it makes the audience integral to the action and very close to all that happens on ‘stage’. Our full touring productions use detailed and elaborate costume, some props, and practical lighting sources. Both elements of Tangle’s professional performances share the broad reaching style of ‘township theatre’ presentation, where work is created for performance in non- traditional venues. We use this style of working so that we can connect fully with our audiences, and are close enough to touch them. The work is very immediate and very powerful to watch. We also use this approach so that our productions can travel and present in both conventional theatre venues and more remote, less frequently used, spaces.

USEFUL INFORMATION: In South Africa, a township is defined as a suburb or city of predominately black occupation, in the apartheid years designated for black occupation under government legislation. The word ‘township’ is still used around the world today to describe different forms of habitat within shifting political contexts. Township theatre is a creative form established in South Africa during the 1950’s to create accessible theatre works suitable for performance in informal settings, such as township community and church halls. Zimbabwean Collective Theatre brings together music, song, poetry, dramatic dialogue and physical theatre in one dramatic exposition. The term ‘virtuoso’ can be defined as a person or people highly skilled in a particular artistic form or way of working. 9 Back to Contents

About Tangle Company

Tangle Company is Tangle’s virtuoso performance ensemble. We commission, rehearse and tour a new, short work every year. Each work is presented in a flexible, accessible format. Tangle Company works are short, making them an ideal introduction to multi lingual African Caribbean theatre. Tangle Company consists of a quartet of professional African Caribbean actor- singers, recruited annually from a highly skilled pool. The artists present poetry and spoken word pieces, accompanied by a cappella song. The artists in Tangle Company work as an ensemble. This means that lines are distributed evenly between each member, and they also sing in four-part harmony. The spoken word element of each work is presented in a rhetorical format (also known as ‘persuasive speech’). This means that there are no characters and no dramatic structure or story. Each piece usually makes a single point or explores one aspect of a theme or subject. Choreography is used to delineate movement when the company perform, which means that the artists can perform in almost any space, without using the traditional principles of ‘upstage’ and ‘downstage’ or working within a pre- designed stage set. A-cappella song is developed to accompany each work. Sometimes the artists sing and speak at the same time. This technique is known as ‘sing-speak’ and originates from Zimbabwe.

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Tangle Productions

Tangle’s touring productions follow many traditions of ‘township theatre’. Actors work as a tight ensemble, and always present the work in several different languages. A capella song and original music features in all the company’s productions. This is often enhanced through recorded sound animation. One of the differences between Tangle Company and our main productions is that the latter contain sets and light. These focus on delineating the ‘space of play’ rather than a detailed realistic context. This affords a strong physical connection between the actors and the audience. There is no ‘fourth wall’. As our performing company is small, the actors often have to play several different parts, so changes of costume can help audiences identify with the different characters. We do not use most commonly used stage lanterns but a form of lighting known as ‘practical lighting’ where light sources are given similar status to sets, and are treated like stage characters.

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Light sources can be picked up and utilized by the actors in a similar way to a prop. Light sources can range from bare bulbs, LEDs to angle poise lamps and specialist light strips. They are all embedded into the set design. Lights are often moved, operated and switched on and off by the actors during the performance. Both live and recorded sound are used within productions and the sound system is often incorporated into the set design, travelling with the show. Tangle’s productions are usually multi-lingual. They aim to open up understanding of the capacity of language to be creative, varied and expressive in all its forms. Often languages vary from across Africa or more widely across the Disapora, depending on the makesup of the creative team. VANHU VESE (2011) was performed in English, Shona (predominately spoken in Zimbabwe), Kinyarwanda (spoken in Rwanda) and siSwati, the first language of Swaziland, an independent state located inside South Africa. DOCTOR FAUSTUS (2018) was performed in English, Latin, Sotho, Xhosa and Shona.

USEFUL INFORMATION: ‘Ensemble’ is defined as a group of things or people acting or taken together as a whole, especially a group of performers who regularly play together. ‘Choreography’ is defined as the skill of combining movements into dances to be performed. ‘a cappella’ is defined as a melody or song performed by a group of people without any accompaniment or any musical instruments

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Section two Resources Back to Contents General Facts about South Africa

Society Geography South Africa has a multi-ethnic society with Rather like South West England, South Africa is many cultures, languages, and religions. It a coastal country. has 11 official languages, among the highest It has 1,739 miles of coastline stretching along number of any country in the world. Since 1994 the South Atlantic and Indian oceans. the country has had an official name in each of its 11 official languages. To the north it borders with Namibia, Botswana and Zimbabwe. South Africa is often referred to as the “Rainbow Nation,” a term coined by To the east its border countries Archbishop Desmond Tutu and later are Mozambique and Swaziland. adopted by Nelson Mandela. It is a metaphor to describe South Africa’s developing Within it lies Lesotho. racial diversity. South Africa is the world’s 25th-largest country. About 80 % of South Africans are It has a population of 53 million of black African heritage. They come from many ethnic groups and speak many different languages. The remaining population consists mainly of people from European (white), Asian (Indian), and multiracial (coloured) heritages. Originally, the country was named the Union of South Africa. Since 1961 the long form name has been the Republic of South Africa. In Dutch the country was named Republiek van Zuid-Afrika. In Afrikaans it is Republiek van Suid-Afrika. Mzansi, derived from the Xhosa noun umzantsi meaning “south”, is a colloquial name for South Africa.

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Languages of South Africa

“Without language, one cannot talk to people and understand them; one cannot share their hopes and aspirations, grasp their history, appreciate their poetry, or savour their songs. If you talk to a man in a language he understands, that goes to his head. If you talk to him in his language that goes to his heart.” NELSON MANDELA

Tangle projects open up understanding of the The eleventh language, Tsonga, is a Tswa- capacity of language to be creative, varied Ronga language. and expressive in all its forms. All Tangle’s There are many other languages also spoken productions include multiple languages – across the country. Most South Africans can often languages from Africa or across the speak more than one language. Disapora. VANHU VESE was performed in English, Shona (predominately spoken in Welcome, South Africa! Zimbabwe), Kinyarwanda (spoken in Rwanda) The word ‘Woza’ is from Zulu and means ‘rise and siSwati, the first language of Swaziland, up’. In Zulu, ‘Ukwemukela’ means ‘welcome’. an independent state located inside South Africa. DOCTOR FAUSTUS was performed in Each of RSA’s official languages has its own English, Latin, Sotho, Xhosa and Shona. title for South Africa, and its own words for ‘welcome.’ South Africa has eleven official languages. There are two West Germanic languages and nine Bantu languages. English Welcome South Africa ‘Bantu’ is a name for the 600 Afrikaans Dankie Suid-Afrika different ethnic groups who speak a Bantu language. Northern Sotho Ken aka kgotso Afrika Borwa The West Germanic Southern Ndebele Siyalemukela Sewula Afrika languages are English and Afrikaans. Southern Sotho Kena ka kgotso! Afrika Borwa Of the nine Bantu siSwati Wamukelekile Ningzimu Afrika languages, four of these Tsonga Xewani Afrika-Dzonga are Nguni languages. These are Zulu, Xhosa, Tswana O amogetswe Aforika Borwa siSwati and Ndebele. Venda Vho tanganedziwa kha Afurika Tshipembe Four are Sotho-Tswana langauges. These are Xhosa Ulwamkelo Mzantsi Afrika Northern Sotho, Sotho, Zulu Ukwemukela Ningizimu Afrika Venda and Tswana. 15 Back to Contents Arts and culture in South Africa under apartheid

Mandela wrote a great deal whilst in prison. His book, LONG WALK TO FREEDOM, was published in 1995. He made many public speeches, the most famous being the ‘speech from the dock’. He was a political activist and a public figure. He was often a wanted man. He worked with many other people, not just his close friend Oliver Tambo, in the fight to overcome apartheid. Others across the world used their own skills to protest against racial segregation. The British musician Jerry Dammers, for example, released the hit single ‘Free Nelson Mandela’ in 1984. The song reached Number 9 in the UK Top 40 Charts.

During the 1950s it was difficult for theatre makers, especially black artists, to establish a public voice. South Africa’s National Theatre did not allow for black creative participation. As the apartheid system put a stranglehold on South Africa, some of the country’s major writers, including Lewis Nkosi, Nat Nakasa and Bloke Modisane, were barred from ‘white’ theatres. In black areas all over South Africa, theatre groups were snuffed out for challenging apartheid and there was intense political harassment for theatre makers. Often, those who wrote plays were arrested and detained. Much of their work was banned. Despite this, theatre became a powerful, if dangerous way for people of all racial heritages to protest against legalised racial segregation. In 1951 Ian Bernhardt formed an all-black drama group called the Bareti Players. Bernhardt also promoted Township Jazz concerts. Athol Fugard created his first play, No- Good Friday, in 1958 with black intellectuals from Sophiatown. Plays by white playwrights like Lewis Sowden (The Kimberley Train), Basil Warner (Try for White), David Herbert (A Kakamas Greek) and Athol Fugard (The Blood Knot) all tackled aspects of the apartheid system.

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In Durban, Ronnie Govender and Muthal Naidoo founded the Shah Theatre Academy. In the Transvaal, Gibson Kente created a black theatre group. Two of Kente’s young actor-musicians, Percy Mtwa and Mbongeni Ngema, went on to produce the play Woza Albert! Today, the famous plays written during the apartheid years have become classics. They are performed all around the world. New talent is growing fast in South Africa today. Plays written today are raw and angry and ragged and encompass a broad range of global themes, just like theatre in the UK. South Africa hosts many exciting arts festivals every year such as the Grahamstown International Theatre Festival. James Ngcobo has started developing exciting new work at The Market Theatre.

USEFUL INFORMATION: Township definition: Township theatre is a creative form established in South Africa during the 1950’s to create accessible theatre works suitable for performance in informal settings, such as township community and church halls. 1972 The People’s Space is founded in Cape Town by Brian Astbury and his actress wife Yvonne Bryceland. It established itself as a defiantly non- racial venue in a racially divided country. 1974 The Market Theatre is founded by Barney Simon and Mannie Manim. They formed The Market Theatre Company, an independent company committed to non-racial theatre. Like the People’s Space, it defied the Group Areas Act, which restricted theatres in white areas to white people only - both as audience and as actors. 1977 The Baxter Theatre Centre in Cape Town opens under John Slemon. Many of the Market’s successes, some directed by Simon, went on to play at the Baxter. In 2001 Manim took over as director of the Baxter.

17 Back to Contents interview The arts through the eyes of a South African

Leigh Tredger was born in Zimbabwe but moved to South Africa when she was one year old. She says: ‘…my ancestors came from Yorkshire. I was born and grew up on southern Africa soil. I worked intimately within Phenduka – a Zulu dance company. My heritage is of a Yorkshire Zulu!’ Leigh now lives in the UK. She is a theatre maker, director and writer. Tell us about growing up in South Africa I grew up in a very white South Africa. I only had genuine contact with black people in 1994 when Nelson Mandela came into power. It all felt very ‘normal’. This was the intention of the apartheid government.

How was it different from where you live now? Life could not be more different. London, where I now live, is a whirlwind and you can easily get lost. I have to remind myself to slow down, to get in touch with myself and find my true energy.

What were the best things? The red soil, sunshine and the giant blue sky. The vitality of the Zulu people!

What were the challenges? I felt guilty being white. I felt guilty about the apartheid system and the repercussions of the regime. I made my peace by connecting as an equal, with my Zulu friends.

How has the experience informed the work you do now? Working with Phenduka taught me to work hard and never give up. I am reminded daily to have VUMA! - power and energy.

What do you think the future holds for South Africa? South Africa has infinite potential. We need a role model like Mandela to help the country reach its full potential.

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How does the arts and culture scene in RSA compare and differ to that in London? London is overflowing with artistic opportunities. There is sadly little money or infrastructure for the arts to develop fully in RSA. Companies like Third World Bunfight are making dynamic work but they perform the majority of their work in Europe.

What does Nelson Mandela mean to you? Madiba saved my country. He suffered so that so many can be free.

Who are your role models? Pieter-Dirk Uys – an Afrikaans satirist, who fought against the apartheid regime and today fights to prevent HIV and AIDS in South Africa.

What’s your vision for change (in the arts … and in society more widely)? I want the arts to get real. To start making work that is more diverse and inclusive. Society has a long way to go. Perhaps the arts can make a difference by making work that questions norms, creates dialogue and ignites the senses.

19 Back to Contents Historical facts about South Africa

• Bantu-speaking people, mainly farmers, were found to be working land south of the Limpopo River around 400BC. • In 1487, the Portuguese explorer Bartolomeu Dias led the first European voyage to land in southern Africa • In 1652, Jan van Riebeeck established a refreshment station at the Cape of Good Hope. This later became Cape Town. • In the 1700s, the Dutch transported slaves for the colonists in Cape Town. As they expanded east, Dutch settlers met the migrating Xhosa people near the Fish River. This resulted in the Cape Frontier Wars, which were fought over conflicting land and livestock interests. • In 1795, Great Britain took over the Cape of Good Hope area. Great Britain wanted to use Cape Town as an interim port for its merchant seamen. • In 1803, the British returned Cape Town to the Dutch Batavian Republic. They annexed the Cape Colony in 1806, continuing the frontier wars against the Xhosa. • During the 1820s both the Boers (original Dutch, Flemish, German, and French settlers) and British settlers claimed land in the north and east of South Africa. • During the 1830s, approximately 12,000 Boers (later known as Voortrekkers), departed from the Cape Colony, where they had been subjected to British control. They migrated to the Natal, Orange Free State, and Transvaal regions. • In the 1840s and 50s, the Boers founded the Boer Republics: the South African Republic (now Gauteng, Limpopo, Mpumalanga and North West provinces) and the Orange Free State (Free State). • The discovery of diamonds in 1867 and gold in 1884 started the Mineral Revolution. This intensified the struggle in relations between Europeans and the indigenous population as well as between the Boers and the British.

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• In 1880-81 The Boers successfully resisted Great Britain during the First Boer War using guerrilla warfare tactics. • In 1899 – 1902 the British returned with greater numbers, more experience, and a new strategy in the Second Boer War, which they won. • In 1913 the Natives’ Land Act severely restricted the ownership of land by blacks. At this time, the indigenous population of 80% controlled only 7% of the country. • In 1931 the last powers of the British Government on South Africa were abolished. • In 1934, the South African Party and National Party merged to form the United Party, seeking reconciliation between Afrikaners and English-speaking “Whites”. • In 1939 the party split over the entry of the Union into World War II as an ally of the United Kingdom, a move which the National Party followers strongly opposed. • On 31 May 1961, South Africa became a republic. Queen Elizabeth II was stripped of the title Queen of South Africa. The last Governor-General, Charles Robberts Swart, became State President. This presidency was virtually powerless until P. W. Botha’s Constitution Act of 1983.

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Key Facts Apartheid

In 1948, the National Party was elected to power by the white voting population (the indigenous black population in RSA were denied the right to vote). The NP formally enforced the racial segregation begun under Dutch and British colonial rule. They classified all peoples into three races – blacks, coloureds and whites. The NP developed ‘rights’ and ‘limitations’ for each. The white minority (less than 20%) controlled the vastly larger black majority. This form of segregation was legally institutionalised by the NP. It became known as apartheid. While whites enjoyed the highest standard of living in all of Africa, the black majority remained disadvantaged by income, education, housing, and life expectancy. There was much opposition to apartheid both within and outside South Africa. As time went on the idea of ‘apartheid’ became increasingly controversial. Many Western nations boycotted doing business with South Africa. This took the form of international sanctions. However the NP legislated for a continuation of apartheid. They harshly oppressed resistance movements, such as The African National Congress (ANC).

1955 – The Freedom Charter was adopted by the Congress Alliance. It demanded a non-racial society and an end to discrimination.

1974 - The Mahlabatini Declaration of Faith was signed by Mangosuthu Buthelezi and Harry Schwarz and enshrined the principles of peaceful transition towards power and equality for all. This was the first of such agreements signed by both black and white political leaders in South Africa.

1990 - the National Party, led by F.W. de Klerk, took initial steps towards dismantling discrimination. The NP lifted the ban on the African National Congress and other political organisations. This released Nelson Mandela from prison after 27 years.

1994 – after a lengthy negotiation process, the government repealed apartheid legislation. South Africa held its first universal elections, which the ANC won by an overwhelming majority. The ANC has been in power ever since.

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Nelson Mandela’s early life

I had no epiphany, no singular revelation, no moment of truth, but a steady accumulation of a thousand slights, a thousand indignities and a thousand unremembered moments produced in me an anger, a rebelliousness, a desire to fight the system that imprisoned my people. There was no particular day on which I said, Henceforth I will devote myself to the liberation of my people; instead, I simply found myself doing so, and could not do otherwise.”

Nelson Rohlihahla Mandela was a South African anti-apartheid revolutionary, politician and philanthropist. He was South Africa’s first black chief executive, and the first President elected democratically. His government focused on dismantling the legacy of apartheid through tackling institutionalised racism, poverty and inequality, and fostering racial reconciliation. Rolihlahla Mandela was born into the Madiba clan in the village of Mvezo, Transkei, on 18 July 1918. His father was principal counsellor to the Acting King of the Thembu people. In 1930, Mandela’s father died and he became a ward of Jongintaba at the Great Place in Mqhekezweni. Rolihlahla attended primary school in Qunu. His teacher Miss Mdingane gave him the name Nelson, in accordance with the custom to give all school children “Christian” names. 23 Back to Contents

Nelson completed his Junior Certificate at Clarkebury Boarding Institute. He went on to Healdtown, a Wesleyan secondary school, where he matriculated. He began his studies for a Bachelor of Arts degree at the University College of Fort Hare. He did not complete the degree there, as he was expelled for joining in a student protest. He completed his BA through the University of South Africa and went back to Fort Hare for his graduation in 1943. Nelson and his cousin Justice ran away to Johannesburg in 1941. There he worked as a mine security officer. After meeting Walter Sisulu, an estate agent, he was introduced to Lazer Sidelsky, and did his articles through a firm of attorneys, Witkin Eidelman and Sidelsky. Nelson studied for an LLB at the University of the Witwatersrand. He was a poor student and left the university in 1952 without graduating. He only started studying again through the University of London after his imprisonment in 1962. In 1989, whilst still in prison, he obtained an LLB through the University of South Africa. A two-year diploma in law on top of his BA allowed Mandela to practice law. In August 1952 he and Oliver Tambo established South Africa’s first black law firm, Mandela and Tambo. Mandela joined the African National Congress in 1944 when he helped to form the ANC Youth League. In 1952 he was chosen as the National Volunteer- in-Chief of the ‘Defiance Campaign’, a joint programme between the ANC and the South African Indian Congress. Mandela and 19 others were charged under the Suppression of Communism Act for their part in the campaign. They were sentenced to nine months hard labour. The sentence was suspended for two years. At the end of 1952 Mandela was banned for the first time.

24 Back to Contents Nelson Mandela and 'the struggle'’

1956 Mandela is arrested in a countrywide police swoop on 5 December 1955. This led to the Treason Trial. Men and women of all races find themselves in the dock in this marathon trial.

1960 On 21 March police kill 69 unarmed people in Sharpeville, who are protesting against the pass laws. This leads to the country’s first state of emergency and the banning of the ANC and the PAC.

1961 The Treason Trial ends on 29 March when the last 28 accused, including Mandela, are acquitted.

April 1961 Mandela goes underground and begins planning a national strike. In the face of massive mobilisation of state security the strike is called off early.

June 1961 Mandela is asked to lead the armed struggle. He helps to establish Umkhonto weSizwe (Spear of the Nation) the armed wing of the ANC.

December 1961 Umkhonto weSizwe is launched with a series of explosions. January 1962, using the adopted name David Motsamayi, Nelson Mandela secretly leaves South Africa. He travels around Africa and visits England to gain support for the armed struggle.

July 1962 Mandela returns to South Africa. On 5 August 1962 he is arrested in a police roadblock outside Howick. He is charged with leaving the country illegally and inciting workers to strike. He is convicted and sentenced to five years’ imprisonment. He begins serving in the Pretoria Local Prison.

27 May 1963 Mandela is transferred to Robben Island. He is returned to Pretoria on 12 June.

July 1963 police raid Liliesleaf, a secret hide-out in Rivonia used by ANC and Communist Party activists. Several of Mandela’s comrades are arrested.

9 October 1963 Nelson Mandela joins 10 others on trial for sabotage in The Rivonia Trial.

20 April 1964 during The Rivonia Trial, and while facing the death penalty, Mandela gives his famous ‘Speech from the Dock’

11 June 1964 Nelson Mandela and seven others are accused: Walter Sisulu, Ahmed Kathrada, Govan Mbeki, Raymond Mhlaba, Denis Goldberg, Elias Motsoaledi and Andrew Mlangeni.

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12 June 1964 all eight are convicted and the next day are sentenced to life imprisonment. Denis Goldberg is sent to Pretoria Prison because he is white. The others are sent to Robben Island.

1968 Nelson Mandela’s mother dies. The following year, in 1969, his eldest son Thembekile dies. He is not allowed to attend either of their funerals.

1969 Mandela remains imprisoned on Robben Island for the next 13 years. 31 March 1982 Mandela is transferred to Pollsmoor Prison, Cape Town with Walter Sisulu, Raymond Mhlaba, Andrew Mlangeni and others.

12 August 1988 Mandela is taken to hospital where he is diagnosed with tuberculosis.

7 December 1988 Mandela is transferred to a house at Victor Verster Prison, near Paarl, Western Cape.

2 February 1990 Both the ANC and the PAC are ‘unbanned’ 11 February 1990 nearly four months after the release of his remaining Rivonia comrades, Mandela is released. He walks through the gates of Victor Verster Prison a free man.

1991 Nelson Mandela is elected ANC President, replacing his ailing friend, Oliver Tambo.

1993 Mandela and President F.W. de Klerk jointly win the Nobel Peace Prize 27 April 1994 Mandela votes for the first time in his life. 10 May 1994 Mandela is inaugurated as South Africa’s first democratically elected President.

1999 Nelson Mandela steps down after one term as President. He is succeeded by Mbeki.

5 December 2013 Mandela dies at his home in Johannesburg. Mandela, Sisulu, Tambo and their friends and colleagues never wavered in their fight for freedom or their devotion to democracy, equality and learning. Despite terrible provocation, Mandela never answered racism with racism. His life is an inspiration to all who are oppressed and deprived; and to all who are opposed to prejudice, inequality and deprivation. .

26 Back to Contents Role models around the world …what do they believe in?

Many people around the world, have used their skills – whether sports, arts, religion or commerce – as a vehicle of expression for their beliefs. Mandela used his abilities as a lawyer, writer and public speaker to express his purpose. These skills helped him to become an international figure on the world stage. There are many role models across the world who have used their talents and skills to similar purpose.

Just like moons and like suns With the certainty of tides Just like hopes springing high Still I’ll rise

MAYA ANGELOU I always wanted to be someone better Internationally recognised poet, actress, the next day than I was the day before dancer and singer

SIDNEY POITIER Bahamian-American actor and the first black person to win an Academy Award The biggest adventure you can take is to live the life of your dreams

OPRAH WINFREY Media proprietor and philanthropist; North America’s only black billionaire

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Hope is being able to see that there is light despite all of the darkness

DESMOND MPILO TUTU Social activist and first black Archbishop of I am African, not because I was born in Cape Town, South Africa Africa, but because Africa is born in me

KWAME NKRUMAH It’s not just what you do on the pitch, First president of Ghana and first Prime it’s what you do off the pitch. Minister of Ghana

PAUL INCE First black Captain of England’s national There is never a time in the future when football team we can work out our salvation. The challenge is in the moment; the time is always ‘now’

JAMES BALDWIN Don’t be a victim. For me it is about American novelist, playwright and poet finding a staged space of freedom…

YINKA SHONIBARE MBE (RA) Conceptual artist and Royal Academician Outsiders often have an insight that an insider doesn’t quite have

DIANE ABBOTT MP Politician and first black female MP in UK parliament

28 Back to Contents Geography, Philosophy, Language and Ubuntu

Geography A Continent describes a very large area of land. An Island is also a word to describe an area of land. Continents are much larger than islands. Islands always have water around them. There are seven continents in the world. Some are connected to each other, and some are surrounded by water. There are over 100,000 islands in the world. Africa is the second largest continent in the world. The Caribbean is part of North America and is 25 countries in total Philosophy and Language Understanding of the value of language links to the SMSC agenda, where schools need ‘to promote the spiritual, moral, social and cultural development of pupils’. This also links to KS4 Citizenship, where the national curriculum criteria says students should learn about ‘diverse national, regional, religious and ethnic identities in the United Kingdom and the need for mutual respect and understanding’. Language is the ability to acquire and use complex systems of communication. A language is any specific example of such a system. The scientific study of language is called Linguistics Languages evolve and diversify over time. A group of languages that descend from a common ancestor is known as a language family. Sometimes words are written using different ‘characters’ such as Russian or Greek. Sometimes letters that we understand in English have different pronunciations in other languages. Prose is defined as ‘written or spoken language in its ordinary form, without metrical structure.’ 29 Back to Contents

Metrical Structure is defined as ‘The pattern of the beats in a piece of music, which includes meter, tempo, and all other rhythmic aspects, or the pattern of stressed and unstressed syllables in a poem.’ Poetry is defined as ‘is a form of literature that uses aesthetic and rhythmic qualities of language—such as phonaesthetics, sound symbolism, and metre—to evoke meanings in addition to, or in place of, the prosaic ostensible meaning Ubuntu Ubuntu is one of Tangle’s core values, encouraging complicity, equality, and kindness to each other. Ubuntu is a Bantu term. It roughly translates to mean ‘human kindness.’ • Ubuntu in the Xhosa culture means: ‘I am because we are’. • In the Shona language, which is mainly spoken in Zimbabwe, ubuntu is unhu. • The Zulu way of describing ‘ubuntu’ is also common in Shona: munhu munhu nekuda kwevanhu. • In Southern Africa, Ubuntu is defined as a humanist philosophy, ethic or ideology. Here are some other definitions of Ubuntu.

Liberian peace activist Leymah Gbowee: ‘I am what I am, because of who we all are.’ Poet John Donne: ‘No man is an island, entire of himself; every man is a piece of the continent, a part of the main’. Archbishop Desmond Tutu: ‘ A person with Ubuntu is open and available to others, affirming of others, does not feel threatened that others are able and good, and knows that he or she belongs in a greater whole and is diminished when others are diminished, when others are tortured or oppressed.’

Nelson Mandela: ‘A traveller through a country would stop at a village and he didn’t have to ask for food or for water. Once he stops, the people give him food and attend him. That is one aspect of Ubuntu, but it will have various aspects. Ubuntu does not mean that people should not enrich themselves. The question therefore is: are you going to do so in order to enable the community around you to be able to improve?

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Section three Activity Notes Back to Contents

Activities for All Key Stages

PSHE KS2

Activity 1 Activity 2 Using a dictionary, look up the word RESPECT How many different words for ‘Africa’ can you – what does it mean? find? Write a sentence about something you How many words for ‘South’ can you find? respect. Why do you respect it? Can you see the connections between the It could be a noun e.g. a person or an attitude different languages? Prompt “I respect my mum as she works hard Do any languages share words? Why do you to look after us” think this is? Activity 3 Look up Nelson Mandela. Who was he? What can you find out about him? Imagine meeting Nelson Mandela. What would you say to him? Imagine being a leader. What are the qualities you need?

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PSHE KS3

Activity 1 Activity 4 What can you find out about ‘Ubuntu’? What happened at The Treason Trial? Make up your own definition of Ubuntu. What happened at The Rivonia Trial? What is Bantu culture? What can you find out Use the internet to find and read the text from about it? Mandela’s famous ‘speech from the dock’. Try reading it out loud in front of friends. How How many Bantu languages can you list? does it make you feel? Where are Shona, Zulu and Xhosa spoken? What can you find out about Robben Island? What other languages are spoken in that part What was it like to be imprisoned there? of the world? What can you find out about 27 April 1994? See what you can find out about Nelson Use the internet to look at the pictures. Why Mandela, Desmond Tutu and other advocates do you think so many people had to queue? of Ubuntu.

Activity 5 Activity 2 Think about apartheid. What are the Using a dictionary, look up the word for implications and impacts for making Township. judgements about other people? What is a Township? Draw your own picture. What other words for Township exist in other Activity 6 parts of the world? Referring to the Resource ‘Role Models’, Write about a township to encourage people Which of these statements inspire you the to visit. most? What other role models can you think of? Activity 3 What did they achieve? Write your own definition of apartheid. What are your strongest talents? How can you What can you find out about the ANC and the use these skills to affect change? NP? How are they different? If you had to make a ‘vision statement’ what What is ‘legalised racial segregation’? What would you say? did it mean for people in South Africa? Which nationalities first owned land in South Africa? Why did they fight over it?

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History KS3 Drama KS3/4

Activity 1 Activity 1 Using Mandela’s timeline (see resources), Compare the performance of WATER BREAD explore key dates and events in Mandela’s life AND SALT to another theatre performance you using this time line as a starting point for your have seen. own research. Where was it performed? Describe the What events and experiences leap out at you experience. the most? Which do you think were the most How was this different from the work of Tangle challenging? Company? Which were the most exciting? Read the section on Tangle Company and find out more. Geography KS 2/3 Compare Tangle Company’s style of theatre presentation to other British theatre companies Activity 1 that you have seen. Look at a map of the world. Create a piece of ‘township style’ theatre in What is a continent? your own school or community. What is an island? What skills and equipment would you need?

Where is Africa? How many countries does it Activity 2 have? After the performance get the group to discuss Where is the Caribbean? How many countries what the word ‘ensemble’ means. does it have? What is unique about working in an ensemble?

Activity 2 Activity 3 Look up South Africa on a map. In groups of four perform the lines – think Draw a picture of South Africa and mark the about the staging - where would you position border points. yourselves? Would you use actions to help emphasise the words? Write in the different countries. Activity 4 Add key landmarks. How did theatre makers use their voice to protest against apartheid legislation? What else can you find out about The Space, The Baxter Theatre and The Market Theatre? Athol Fugard, Barney Simon, Percy Mtwa and Winston Ntshona were all famous theatre makers in the 1960’s and 1970’s. What other famous theatre makers come from South Africa? What can you find out about Gibson Kente? Describe ‘township theatre’ in your own words. What can you find out about Sharpeville, Soweto and Sophiatown? Why were these places important for theatre in the apartheid years?

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Music KS3 English KS3

Activity 1 Activity 1 After the performance ask the group to Choose an extract from the speeches discuss the use of music in the performance. in Tangle’s production (see Lesson Plan Resource) Work in pairs or small groups to research what a cappella is. Think about divisions and rhythms. What happens if the lines are divided up differently? Where did the style originate, and what does it involve? See if you can divide the lines and words between four people. Try reading it out loud and listen to the PE/Dance KS3 different voices that come across. Activity 1 What effect does this have on the After the performance, discuss what performance? Choreography is. What happens if you adapt and change your Why is it important? How does it help to tell original choices? the story? Activity 2 In groups choreograph your own section of In groups of four rehearse the first lines, think the play – how would you do it differently? about the way you would deliver the words – focus on the intonation, pitch and tone you use English KS2 for dramatic effect. Perform the text and after discuss why you chose to deliver it in this way. Activity 1 Using the extract from the speeches in Tangle’s English KS4 production (see Lesson Plan Resource) In groups of four, each chooses one letter Activity 1 A-D. Read the lines by your letter. Look Refer to the two extracts from Mandela’s up any words you don’t recognise in the speeches in the lesson plan resource below, dictionary. Once you are happy with your used in the Tangle Production. lines, read them out in order – changing pitch Look at the two extracts. Try reading them and tempo. aloud. Activity 2 Circle the phrases that appear in both. Using the extract from the speeches in Tangle’s Consider, and write down, the difference production (see Lesson Plan Resource) between prosaic and poetic versions. Think about divisions and rhythms. What happens if the lines are divided up differently? Choose an extract from the selection. See if you can divide the lines and words between four people. Try reading it out loud and listen to the different voices that come across.

35 Back to Contents WATER, BREAD AND SALT PERFORMANCE EXTRACT

Tangle Company perform as an ensemble. The lines they speak are divided up between the actors. Those watching and listening hear different voices and tones, as the actors share sentences, phrases and even swap in and out with single words. The actors work together to collectively express an idea or make a point through shared delivery. Here is an edited section from Nelson Mandela’s inaugural speech as President, which he delivered in Pretoria, South Africa, on 10 May 1994. The speech is written in prose.

We are moved by a sense of joy and exhilaration when the grass turns green and the flowers bloom. The time for the healing of the wounds has come. The moment to bridge the chasms that divide us has come.The time to build is upon us. We pledge ourselves to liberate all our people from the continuing bondage of poverty, deprivation, suffering, gender and other discrimination. We succeeded to take our last steps to freedom in conditions of relative peace. We commit ourselves to the construction of a complete, just and lasting peace. We have triumphed in the effort to implant hope in the breasts of the millions of our people. We dedicate this day to all the heroes and heroines in this country and the rest of the world who sacrificed in many ways and surrendered their lives so that we could be free. Their dreams have become reality. Freedom is their reward. We understand it still that there is no easy road to freedom. We know it well that none of us acting alone can achieve success. We must therefore act together as a united people, for national reconciliation, for nation building, for the birth of a new world. Let there be justice for all. Let there be peace for all. Let there be work, bread, water and salt for all. Let each know that for each the body, the mind and the soul have been freed to fulfill themselves. Never, never and never again shall it be that this beautiful land will again experience the oppression of one by another and suffer the indignity of being the skunk of the world. Let freedom reign.

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Here is the same section with further edits, and each line divided between four actors – A B C and D.

A We are moved by a sense of joy and C And the rest of the world exhilaration D Who sacrificed in many ways and B When the grass turns green and the surrendered their lives flowers bloom. A So that we could be free. C The time for the healing of wounds B Their dreams have become reality. has come. C Freedom is their reward. D The moment to bridge the chasms that divide us has come. D We understand there is no easy road to freedom. A The time to build is upon us. A We know it well that none of us B We pledge ourselves to liberate all acting alone can achieve success. our people from the continuing bondage of poverty, B We must therefore act together C Deprivation, C for national reconciliation D Suffering D for nation building A Gender A for the birth of a new world. B And other discrimination. B Let there be justice for all. C We succeeded to take our last steps C Let there be peace for all. to freedom in conditions of relative peace. D Let there be work D We commit ourselves to the A Bread construction of a complete, just and B Water lasting peace. C And salt A We have triumphed in the effort to implant hope in the breasts of the D For all. millions of our people. A Let freedom reign. B We dedicate this day to all the heroes and heroines in this country

37 Back to Contents Create your own 'long walk to freedom'

“A winner is a dreamer who never gives up” Whilst in prison, Mandela relied on reading, studying and writing to sustain himself. He also enjoyed sport and gardening. Writing and public speaking were ways for Mandela to share his experiences and passions. Use these exercises to create your own poems, stories and statements. What do you believe in? What do you love about the community you live in? What do you want to change?

Go for a walk. Round the block, round the park, or, if you are in a school, round the playground or the playing field. Be conscious of what you are seeing, smelling and hearing, and if you touch anything. Be aware of your body moving in space, the way you are breathing, the ground beneath your feet, and the air around you. What are you seeing, hearing and feeling? Hear the words in your head. Allow phrases to form themselves. Allow the rhythm of the walking to affect the rhythm of the words in your head. If you start to speak the words, let this happen. Return from your walk. Take a sheet of paper and quickly write down: • Ten things you saw • Five sounds you heard • Five scents you smelt • Three things you touched • Three feelings you experienced • One question that is prompted by what you heard, saw or felt.

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Sit down somewhere comfortable. Allow yourself to feel relaxed and open. Think about your life, the whole of it, as if it is a river running past you. Allow memories to flow past. Find something you remember that’s of interest – an event, a moment, an image, a sound, a scent – and explore it. Write it down, as one word, a few words or a sentence. Sit back and close your eyes. Allow the river to flow again, letting the memory you have written slide away. • Think of your life last year, as if it were a film. Pick a moment, something that was important or significant. Replay the scene over a few times. • Summarise it in a few words or a line. • Write it down. What sounds, scents and smells were around you? • Think of your life this last year and repeat the process. • Think of your life this last week and repeat the process. Look at everything you have written. Find three or four questions the words and phrases prompt. Write these questions down. Do you wish these things had happened differently? If so, how could it have happened?

39 Back to Contents Create your own memory poem

...‘in my youth in the Transkei I listened to the elders of my tribe telling stories of the old days. Amongst the tales they related to me were those of wars fought by our ancestors in defence of the fatherland. I hoped then that life might offer me the opportunity to serve my people and make my own humble contribution to the freedom struggle’. There is an old saying, ‘we are what we remember and how we remember it’. Memory is a powerful tool. Mandela drew heavily on the memories of his childhood and early life whilst a freedom fighter, and when campaigning to overturn apartheid legislation. During his ‘speech from the dock’ he talks about how personal childhood memories influenced the writing of the speech. Look the speech up!

Think about memories. • In what ways do we remember things? • How is memory recorded in writing? • What do we remember and why? • What is good memory and what is bad memory? • What is an actual memory and what is ‘imagination’?

Find these three memories. • A very personal memory, one which no one else in the world could have. • A local memory, something shared by quite a lot of people in your community, street or school, but not by the wider world. • A world memory, something shared by many people around the globe. Describe each memory in a single sentence. Share your memories with your friends by reading them out loud.

40 Back to Contents Create your own 'speech from the dock'

‘It always seems impossible until it’s done’ Draw a column down the left had side of a sheet of paper. Write these words underneath each other in the column you have drawn:

Accused, struggle, proudly, people, fight, protest, hostility Write these words down on the right hand side of the page; the other column.

Respect, contrasts, Believed, Leaders, Encouragement, Hope, Freedom Write down a short phrase inspired by each word. Do not include the word itself in the phrase. Give yourself ten seconds only, to write each phrase. Read out some of the phrases. Go round the circle and hear what others have written down. Go back over the words again. Listen carefully to the different phrases. • Discuss which images stand out vividly. • What is the overall feel and mood? • What lines work well next to each other? Read around the circle again. Repeat the process for each word. What will emerge is a series of collectively created poems, each built on a range of individual perceptions. Read one of the poems again. Work on it in a bit more detail. Can you make the collection of random lines into a whole piece? What sort of mood and rhythm comes out? How do the lines sit with each other? Everyone now writes down each line of the poem you have made. Everyone now has the same copy of the collectively written poem. Do the same thing with a few of the other words. Divide up into small groups. Each group takes one of the poems. Devise a manner of presenting the poem, in whatever style you choose. Add movement, sound, repetition, choral speaking, keeping in mind that the main aim is to bring the poems to life. Share the results with the whole group.

41 Back to Contents Themed exercise: Working as a Team – Ensemble Theatre

Below are a range of exercises absorbing movement and text interpretation, looking at notions of leadership and visualisation.

Duration Activity 5 mins Sculpting – embodying a phrase and physicalizing

5 mins Moving as a flock, walking as a diamond. Moving as a group, working as a team

10 mins Assumed leadership – series of exercises where participants assume leadership and the leadership changes round the group. Exploration of leadership dynamics

10 mins How do you embody change through movement? How do you embody leadership through this exercise? Contrive a situation whereby somebody comes up with a stimulus or a word. Split people up into different parts of the room. People walk around and somebody has to convince the others that they want to go in a specific direction.

10 mins Visualising words and phrases. Participants share a phrase and then everybody visualises or presents this as a still, visual image. Move round the group and share different images and ideas. Then use forum theatre techniques to develop some of the ideas.

10 mins Using 4 key phrases to put visual images together – it’s a bit like ‘guess who’ or ‘guess what’ or ‘guess the phrase’ – a way of making the transition into more specific activities

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Section four Arts Award

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About Arts Award

Arts Award offers young people the chance to be part of an inspiring arts journey. Each path can take a different direction – from fashion to film making, from dance to design, from photography to poetry. Whichever route they choose to follow, young people are always in the driving seat. Arts Award’s unique qualifications support young people to develop, both as artists and as arts leaders. The programme is designed to develop their creativity, leadership and communication skills. Open to anyone aged from 5 to 25, Arts Award embraces all interests and backgrounds. Working towards an Arts Award encourages young people to work independently, helping them to prepare for further education and employment. Arts Award motivates young people and celebrates their artistic achievements. Young people can achieve an award through any arts, media or cultural activity, developing knowledge and understanding of their chosen art forms. Arts Award is managed by Trinity College London in association with Arts Council England and 10 regional ‘Bridge’ organisations. Real Ideas Organisation (RIO) leads the Arts Award regional development for South West England (where Tangle is based) as part of this ACE Bridge network.

You can find out more at www.artsaward.org.uk www.realideas.org/bridge/intensive-support#artsaward Tangle is an Arts Award Supporter and works with a wide range of organisations, schools, youth theatres and community groups to support Arts Award achievements. We work with teachers across the region to identify activities within our programme that count towards young people’s Arts Awards. For more information contact [email protected]

44 Back to Contents How WATER BREAD AND SALT links to Arts Award delivery in your school or group

Arts Award can be achieved at five levels. There is an introductory award and four qualifications.

LEVEL QUALIFICATION TITLE AGE RANGE Discover Introductory Award 5 - 25 Explore Entry Level in the Arts (Entry 3) 7 - 25 Bronze Level 1 Award in the Arts 11 - 25 Silver Level 2 Award in the Arts 14 - 25 Gold Level 3 Certificate in the Arts 16 - 25

Here are some outline suggestions for activities that participants can explore

Arts Award Links to Suggested activities and evidence Level Arts Award Discover Part B: Find out Ask young people to write about the Tangle artists that they about the arts meet. Explore Part B: Explore Ask young people to write about Tangle - who Tangle the work of arts Company are, as well as about the artists that they meet. organisations Bronze Part B: Explore the As evidence, take photos, keep resources and recordings of arts as an audience individual attendance member Ask individuals to record a personal reflection of the performance (either written or spoken) that highlights the creative impact of WATER BREAD AND SALT As a group, start a discussion about the performance, encouraging everyone to put forward their thoughts. Take pictures and film the discussion as evidence Silver Unit 1 Part C: As evidence, take photos, keep resources and recordings of Review arts events individual attendance As evidence, film an extract of the performance where a young person has highlighted specific artistic qualities that they felt came across well. Review the performance in either a written or spoken format that includes comments on the creative impact of the performance, as well as any artistic qualities or highlights. Take a film or audio recording of individual students sharing their review with others. . Evidence the individual sharing of reviews as an online blog or on a website.

45 Back to Contents Suggested Session plans linked to Arts Award

Arts inspiration

Subject:

Number of learners: Room: Date: Times: 3.5 hours activity

Session plan Session Aim: • Use research skills and prior knowledge to create content to present • To present arts inspiration to others, including why they inspire you and evidence of the research undertaken

Learning Objectives: • Research using books and the internet • Produce evidence of research carried out • Choose a summary in any format to present arts inspiration to others • Present arts inspiration to others

Time Content Activity Suggested assessment methods 30 mins Group After the Tangle performance/ workshop, • Anna Coombs discussion get the group to read through Anna interview in about Anna Coombs interview on Directing. Ask the Appendix Coombs group to think about other examples • Camera to Directing of where an artist has been inspired take photos/ interview by someone else – allow the group to film group feedback their ideas. discussion.

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Time Content Activity Suggested assessment methods 20 mins Arts inspiration: After the group discussion ask individuals Written sentence Who inspires to think about who inspires them within of who inspires you? the arts; explain this does not need to be them within the someone famous or contemporary. arts and why. Read through the section ROLE MODELS (Keep as Part C, FROM AROUND THE WORLD Bronze arts award evidence) Get the students to think about this and write a sentence about why they inspire them. Encourage everyone to share this with someone next to them. Links to Bronze arts award Part C

1 hour Research arts Tell the students that they will need to • A bibliography inspiration research their arts inspiration to find out of research the following information. Explain that • Research notes many will know the answers already, but • (Keep as Part to find interesting images, film or audio C, Bronze arts that can support this. award evidence) They must answer the following questions: • Who they are and what their art form is • How they got into their art form • Who inspired them • Where they work • Any other info about their work that you think is interesting • Why do they inspire you? Explain a log of this research must be collected in the form of a bibliography.

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Time Content Activity Suggested assessment methods 40 mins Preparing to Explain to the students that you would like • Image of present arts them to present their arts inspiration to you/ young person inspiration to the group in a format of their choice and it working on their others should be no more than 5 minutes (Note: presentation this could be one you prescribe, or you form could give the young people the choice) Examples of how the students could present their work: • A one pager, including some images of the arts inspiration • A PowerPoint presentation including images, audio and/ or film • A collage/ poster including images and text • An image of the arts inspiration, along with notes - The student must present this to you/ the group. This could be informally talking through.

1 hour Presenting arts Depending on the group, encourage the • Photo/ film inspiration to students to present their arts inspiration of student others to others, or within smaller groups which presenting arts you observe. inspiration • Any notes/ images/ film links used to present art inspiration (ensure that the student annotates these if used for Part C, Bronze arts award evidence)

Resources: • Camera • Interviews and ROLE MODELS resources • Access to computers/ library for research • Pens/ paper

48 Back to Contents Reviewing a performance (Bronze, Part B/ Silver, Unit 1, Part C)

Session plan Session Aim: • To review an arts performance and share own views with others Learning Objectives: • To critique a performance based upon opinion and understanding of theatre • To be part of a group discussion with others to share own view • To present review to others (Silver arts award)

Time Content Activity Suggested assessment methods

30 mins Individual After the Tangle performance using • Resource reflection the review template, get the students 1: Review to reflect on what they have watched. template Ask them to work individually and on • Notebooks/ some paper first note down everything paper that comes into their head after the performance. Next, get them to work through the questions based upon what they personally thought of it.

15 mins Definitions Get the group to start to think about the • Whiteboard/ following, linked to the performance – Flipchart using the white board write these up and ask the group to explain what they think they mean within the context of reviewing a play: Key Themes Performance style Audience (discuss different types of audience – younger, regular theatre goers etc.) Write the definition up on the board.

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Time Content Activity Suggested assessment methods

30 mins Group Group discussion about the performance: • Resource 2: discussion Prompt cards Hand out the questions to six people within the group, ask the first person to read out • Camera/Ipad the question to the rest of the group – for photos/film/ explain that anyone can respond and then audio of group encourage them as a group to discuss – discussion give 5 minutes for each question. .

30 mins Sharing If student is doing Silver arts award: • Camera/ Ipad reflection Encourage the students to share their personal reflection with others in some way. This could be uploading it to their personal blogs and sharing on social media or writing an article to go up on a website/ newsletter or on a display board at School or College. Ensure the student gets evidence of sharing the review (Screen shots/ photos/ film etc.)

Resources: • Camera/Ipad to video & take pictures • Review template • Prompt questions • Computers • Pens/ paper

50 Back to Contents Resource for Session plan: Reviewing the performance

Name: Date:

What Tangle show did you go to see? Name of show: Date: Venue:

What was the performance about?

What style of theatre was it performed in?

What did you think about the performance?

Comment on the sound effects/ staging/Lighting; what worked well/ what worked less well in your opinion?

What impact did the performance have on you?

Any other comments?

Remember to include any photos/ performance flyers with your review These questions could be cut up and passed around the small group for each person to read out and start a group discussion on. Give up to 5 minutes for each question.

51 Back to Contents Resource for session plan: Prompt questions for group discussion about the performanc

These questions could be cut up and passed around the small group for each person to read out and start a group discussion on. Give up to 5 minutes for each question.

What did you think of the What were the key performance? themes?

What key thing will you Performance style: What remember about the did you think? performance?

What impact do you How do you think the think the performance staging helped convey the would have on a different story? audience?

52 Back to Contents Interviews for use with Arts Awards

These interviews have been included to give context to the artistic aspects of the performance and the Tangle Company’s style of delivery. The interviews are a great resource for students interested in getting into the creative industries and for links to specific subjects and parts of Arts Award. The practitioner interviews have been included to give context to the artistic aspects of the performance and the Tangle Company’s style of delivery. The interviews are a great resource for students interested in getting into the creative industries and for links to specific subjects and parts of Arts Award. The notes have been included to highlight some of the links. 1, 2 & 3: • Links to careers education and young people understanding the various routes into the creative industries. • Links to Silver Arts Award, Unit 1, Part D Arts pathways - Young people need to demonstrate they understand career pathways within their chosen art form and evidence what they have learnt. Also to demonstrate what they have learnt about practitioner’s careers and work. • Links to Explore Arts Award, Part B – young people need to explore the work of artists and arts organisation, the interview could form a basis a reading activity, where children find out key information • Links to Bronze Arts Award Part C ‘Arts inspiration’ (see Arts Award session plan) 4. • Links to GCSE music & drama – understanding of genre 5. • Links to careers education and young people understanding the various routes into the creative industries. • Links to Explore Arts award, Part B – young people need to explore the work of artists and arts organisation, the interview could form a basis a reading activity, where children find out key information • Links to Silver Arts Award Unit 1 Part D Arts Pathways – young people need to demonstrate what they have learnt about practitioner’s careers and work.

53 Back to Contents INTERVIEW 1: Directing: Anna Coombs

Anna Coombs is Artistic Director of Tangle. She founded the company in 2009 when she was living in Cornwall. She has directed theatre productions across the UK and Ireland at venues such as London’s Soho Theatre, National Theatre Studio, Rich Mix, Theatre 503, Gate Theatre, Arcola Theatre, and in London’s West End. Anna has directed all of Tangle’s productions, and also commissions and directs a new work for Tangle Company each year. Recent works include THE CROSSING (2012) by Esther O’Toole, WORKSHOP NEGATIVE (2016) by Cont Mhlanga, and Christopher Marlowe’s DOCTOR FAUSTUS (2018).

Tell us about your practice- what it is and what it involves Directing is all about understanding stagecraft. My work puts the actor centre stage, physically and emotionally as close to the audience as possible. Speech, physical presence, diction and music are very important. I like a complete connection between actors and audience so our set designs are stylised or conceptual. We start with the space and look for ways to activate the space architecturally with an audience in and around it. I am a great believer in stage illusion – but in a physical sense. So, a tree will rarely be made from a tree – it may be made from a stick that the audience imagine to be a tree, or through light. Or sound. I work in a very particular way as my productions don’t follow a traditional Western template. There is usually a design framework that is both complex and simple, incorporating all the lights and the sound system. Song, sound and specialist practical lighting play a central part in each show, so the actors have a lot of work to do! Rehearsals focussing on the spoken text are therefore interspersed with sound and lighting workshops, and learning and singing the songs. I am an easy-going person but ridiculously demanding on actors. I expect actors to be alert, to manage their energy levels and to arrive early so they can warm up for the start of each day. Those that don’t, often regret it! I like structure so each session often begins with a series of team based activities that might include one actor speaking other actor’s parts, or actors swapping lines at random. We also do a lot of work around movement and physical expression. We introduce lots of line runs very early on, so actors can get a feel for the whole work, and not just the actual words they speak. It is team work at its best.

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How did you get into directing for theatre? I never wanted to act but I was interested in the many processes that need to come together on stage. I liked the idea of working as part of a team to realise a collective vision. This is how I see directing really. I didn’t train in theatre specifically. I acted in school productions and after A Levels I went to work in Dublin as an Assistant Director at the world famous Abbey Theatre. I was there for two seasons in my teens and it was an amazing experience. I grew up near Stratford Upon Avon so I used to go to the RSC a lot - the work was a much higher standard then than it is now. I used to sit in on technical rehearsals thanks to a free scheme the RSC used to run. I also used to go after school and watch shows from the back – in those days you could buy a ‘standing’ ticket for a few pounds. I directed a lot of plays at University (I studied English language and literature). I did an MA at RADA but I found the intellectualism of the course hard to handle. So I learnt on the job really, and through working with wonderful craftsmen such as Peter Cheeseman and the Cornish playwright Nick Darke. Then later, with wonderful practitioners such as Cont Mhlanga.

What were your influences/ inspirations ? I would say that theatre has changed dramatically (and not for the better) since I started working just before the millennium. Early influences include Peter Cheeseman, my first boss at The New Vic, Stoke on Trent and an advocate of Stephen Joseph and the ‘theatre in the round’. Also, Kneehigh Theatre in Cornwall who have a unique way of blending visual excellence and craftsmanship. Influences at Tangle include Cont Mhlanga’s Amakhosi, The Market Theatre Johannesburg, the early works of Yael Farber in South Africa and Joseph Papp’s Public Theater in New York. My biggest inspiration as a writer is probably the Renaissance poet and activist Christopher Marlowe. I recently started visiting the Sam Wanamaker Playhouse at The Globe in London. Only practical lighting is used in the Playhouse which is such an inspiration. It could have been made for me. 55 Back to Contents

Would you say your work fits into a particular genre/ style? I like to think that the work we make at Tangle has a style of its own. We create an environment which is immediate and where there is no fourth wall. The actors and the audience are one unit – they can see each other and reach out and touch. It is powerful, especially for audiences new to live theatre. I work with ensemble casts in a very physical way. I also commission or use live music and song for all my shows. This creates an additional layer to the relationship between actors and the audience because music has a different means of connecting emotionally to audiences from words. Using practical lighting only means that we can extend the relationship visually, and be really inventive with light sources. I guess my work is a cross between township theatre and English Renaissance theatre. In future I would like us to be more like The Public in New York who are really successful at taking high quality theatre into informal settings and places and doing it really well.

Tell us about the work you do with Tangle In 2009 I founded Tangle in order to enable some of the UK’s best theatre artists to work and tour across the South West - the region that I call ‘home’. I wanted to bring these fantastic people and their work to my ‘home’ as there is very little opportunity for African, Caribbean and even black British artists from the diaspora to work in the region. I started the company as an international theatre project and it’s now a vehicle to do just that. At Tangle I am Artistic Director and Chief Executive which means that I am not only responsible for developing the creative programme but also accountable for all our finance and operations, as well as fundraising, reporting and compliance, and our team of staff. If you work in the arts it is really important to have a grasp of business and to have lots of transferrable skills. I work closely with our creative teams to plan each project. It is collaborative. Everything we make is developed in consultation with the artists and with a team based approach. I am always open to new ideas and to constructive criticism. I like to find out about what people think about what we do. And I like people. Perhaps that’s the most important thing of all! Theatre is a social activity and the people that make it and watch it are at its heart. At its best, it is a collective, not a hierarchy. Status and ego shouldn’t be a factor.

56 Back to Contents INTERVIEW 2: Music in Tangle Company: ALLYSON DEVENISH

Allyson Devenish has worked with the ensemble since 2013. She has worked in live and recorded performance settings across Europe, Canada, the USA and the Caribbean as well as in the UK. She is Artistic Director of her own collective, NitroVOX and an established composer and arranger. Here she talks about her background as a musician, and about working with Tangle.

Tell us about your practice- what it is and what it involves I seem to have three jobs: music director, composer/arranger and piano teacher. All three have one very important component - listening. After that comes the fixing, sorting, improving. Since I am almost always writing for voices, I start with the words. Sometimes it’s about immersing myself in the mood that the writer is putting across. Sometimes the text for a show becomes part of a lyric. There are two challenges working as a composer: writing something that can be learned by artists who are principally actors and not full time singers, and writing something that truly reflects the words and emotions of the text. The third challenge is of course in writing something that people like performing and that people like listening to.

How did you get into writing music for theatre? I studied piano and violin privately in Ottawa, Canada and at the Conservatoire de Musique in Hull, Québec, Canada. Undoubtedly the music theory classes at the Conservatoire helped a lot! Also, the fact that all kinds of music was being played in my house. Nothing was out of bounds. Except maybe country music!

What were your influences/inspirations? My influences are many and varied and come from all branches of the arts - music, dance, visual, literature. Music feeds from and is fed by everything. My own advice to others is “Perform with conviction. If you believe in what you are doing, then it’s right” and I have followed this advice. For any aspiring composers - Just do it. Write, write, write. Listen to everything. Pick it apart. Put it back together. Enjoy what you’re doing. You should be getting kick out of it!

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Would you say your work fits into a particular genre/style? I don’t think my work fits into any particular genre. I’m a bit of a chameleon, in that I produce what is required for each show, going with whatever is being communicated and working out how best to compliment and support the story. I seem to have three jobs: music director, composer/arranger and piano teacher. All three have one very important component - listening. After that comes the fixing, sorting, improving.

Tell is about the work you have done with Tangle Most of the Tangle artists learn music by ear so, while I make sure everyone has a copy and recording of the song, we just start by going through the lines, learning by ‘rote’ and repeating lines and melodies all together. We look for the patterns, ‘hooks’, repetitions - things to hold on to. I find that learning by ear allows for making a sort of physical sense of the music. The artists seem to be ‘singing a picture’ as opposed to being stuck on notes on a page. It can be very liberating for them, but it is also terrifying as there is nowhere to hide and nobody to hide behind.

58 ‘Let there be justice for all. Let there be peace for all. Let there be work, bread, water and salt for all. Let freedom reign’

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