DOCSLIB.ORG

Debut in Derby X Creates Exciting and Imaginative Performance Experiences for Audiences and Participants

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Debut in Derby X Creates Exciting and Imaginative Performance Experiences for Audiences and Participants Principal Conductor : Duncan Ward Principal Guest Conductor : Nicholas Kok Leader/Artistic Advisor : Benedict Holland Choral Advisor : David Lawrence Sinfonia Viva is a virtuoso ensemble delivering original and extraordinary creative musical experiences. Founded in 1982, Sinfonia Viva has a national reputation as a leader in creative music activity in the UK. Its work offers relevant and enriching possibilities for all. Sinfonia Viva in association with Derby LIVE, Derby Cathedral Sinfonia Viva: and Orchestras Live x Embraces new opportunities and ways of working whilst nurturing the best of existing present practice, making music accessible to the widest audience x Connects participants, communities and professional musicians through shared creative activities and performances Debut in Derby x Creates exciting and imaginative performance experiences for audiences and participants x Collaborates with partners to devise, develop and deliver original musical opportunities x Is an ambassador for music making Derby Cathedral th Saturday 10 January 2015, 7.30pm The Orchestra has toured to Ireland and Berlin, has broadcast on BBC Radio 3 and Classic FM and has been part of a project for Granada Television. The Orchestra made its London debut as part of an Indian music festival in London’s Kings Place, building on its partnership with top Indian classical violinist Kala Ramnath. One of the Orchestra’s tracks on the Gorillaz’ album Plastic Beach was nominated for a Grammy award. The Orchestra has hosted the Association of British Orchestras’ national conference. Its project work includes a contribution to BBC Radio 3’s Music Nation week-end, producing local content for the Olympic Torch Evening Celebration event in June 2012 in Derby, work as part of the SO Festival in Skegness and events linked to broadcasts as part of BBC Big Screen relays. On stage in concert halls and smaller venues across the region Sinfonia Viva continues to deliver high quality performances and concerts of extraordinary range based on original programming and project development. Partnership working, often bringing together musicians from other musical styles, genres and traditions is central to the ethos of the organisation. This is supported by extensive experience in event management activity and delivery. Sinfonia Viva is supported using public funding by the National Lottery through Arts Council England and receives funding from Derby City Council. Principal Conductor position sponsored by the Nottingham City Gate Branch of Handelsbanken. Feedback on any Sinfonia Viva event is welcome via the contact details below. Sinfonia Viva, Assembly Rooms, Market Place, Derby DE1 3AH Purcell arr. Britten Tel: 01332 207570 Fax: 01332 207569 Email: [email protected] www.vivaorch.co.uk Chacony in G minor, Z730 Viva Chamber Orchestra Ltd is a company limited by guarantee registered in England No.187955. Registered address 22-26 Nottingham Road, Ward Stapleford, Nottingham. Registered Charity No.291046 VAT No.385367024 Resounding Vaults Britten Les Illuminations, Op.18 Beethoven Symphony No.4 in B flat, Op.60 Chacony in G minor, Z730 Henry PurcellProgramme (1659-1695) arranged for string orchestra by Benjamin Britten Of all Purcell’s instrumental pieces, the Chacony is one of the best-known. It forms part of a manuscript collection in Purcell’s own handwriting, headed The work’s of Hen; Purcell Anno Dom. 1680. This includes a number of other fantasias, and may, perhaps, have been intended to form the basis of a published collection similar to his Ten Sonata’s in Four Parts (1680), which also contains a single-movement chaconne. The scholar and performer Peter Holman has put forward the theory that it may have originated either as music for a dance at Charles 2nd’s court or as part of an otherwise lost theatre score. He goes on to suggest that it may have been scored originally for a single violin, two violas and bass, as opposed to the two violins and single viola used in the more modern style of Purcell’s Italian contemporaries. Unauthorised The title ‘Chacony’ (the anglicised form of ‘Chaconne’) indicates that it is a set of continuous variations over a repeated theme in the bass. This is a form which Purcell frequently used, not least in Dido’s “When I am laid notesin earth”, from the opera Dido and Aeneas. Like much of Purcell’s instrumental chamber music, it draws on the great English fantasia tradition going back to Byrd and Gibbons, and whose last great exponent, John Jenkins (1592-1678), Purcell may well have known personally. At the same time its sturdy rhythms and the twists and turns of its harmonies are as up-to-date as anything Purcell wrote. Britten was a devoted admirer of Purcell’scopyright music throughout his professional life and, among other things, made a number of realisations for piano of the instrumental parts in several of Purcell’s songs (and used the chaconne and related forms in many of his own works). He first made his version of the Chacony, for string quartet or string orchestra, in 1948, and revised it in 1963. Resounding Vaults use Duncan Ward (1989- ) The idea for this piece grew from the proposed premiere concert venue of Derby Cathedral - a majestic, resonant space with great potential for the antiphonalMike placement of instrumental groups. Ever since playing Gabrieli as a young horn isplayer I have been enchanted by the musical possibilities such a setting can create: in Gabrieli's case, brass choirs calling to each other from the opposing balconies of St Mark's, Venice. prohibited I therefore leapt at the chance to compose a work showcasing the wind, brass and percussion forces required for Beethoven's Fourth Symphony to counterbalanceWheeler the strings-only concert opener of Purcell's heavenly Chacony in G minor. In 'Resounding Vaults', bell-like circling harmonic sonorities are juxtaposed with wilder contrapuntal fantasy for duos and trios within the ensemble. Distant choral-like windows in the texture pave way for soaring melody echoing around the space. Les Illuminations, Op.18 Benjamin Britten (1913-1976) 1. Fanfare; 2. Villes; 3a. Phrase; 3b. Antique; 4. Royauté; 5. Marine; 6. Interlude; 7. Being beauteous; 8. Parade; 9. Départ. 2015 “I alone hold the key to this wild parade!” proclaims the solo voice three times during the course of Les IIlluminations. The wild parade in question is a bewildering kaleidoscope of images, nightmare visions of modern life jostling ecstatic love-poetry, taken from a collection of poems and prose-poems with the same title by the French writer Arthur Rimbaud (1854-1891). They were written in his teens in the mid-1870s and published in 1886, and ‘illuminations’, according to Rimbaud’s lover at the time, the poet Paul Verlaine, was meant to suggest a series of coloured photographic plates, or perhaps what we would think of today as a slide-show. Britten was introduced to Rimbaud’s work by his frequent collaborator in the late 1930s and early 40s, WH Auden. He set two of the poems, ‘Being Beauteous’ and ‘Marine’, in March 1939 for the Swiss soprano Sophie Wyss. After he and the tenor Peter Pears began their three-year stay in America he added the rest, and the work was completed in October. The first performance was given by Wyss with the Boyd Neel Orchestra conducted by Boyd Neel in the Aeolian Hall, London, on 30 January 1940. In a number of respects, Les Illuminations represents an important stage in Britten’s self- discovery as both a person and a composer. His discovery of Purcell’s music had been an important factor in developing his approach to setting English texts, and which had already borne fruit in a number of works. Now he felt the need to step back from English for a while in order to find new ways of responding to poetic imagery. Rimbaud’s French gave him what he needed in this respect; as he later put it, “I felt bolder with another language.” That boldness informs his writing for the string orchestra as much as his word-setting. The vivid sound-images that result – such as the trumpet-like figures in the opening, the glistening harmonics (the high-pitched whistling tone produced by just touching the string lightly at certain points instead of pressing it down) that support the voice in ‘Phrase’, and the guitar-like strumming for violas and cellos in ‘Antique’ – all suggest a composer working at an imaginative white heat to match Rimbaud’s own. After ‘Fanfare’ has raised the curtain, the edgy restlessness of ‘Villes’ (Towns) reflects Rimbaud’s own repelled fascination with the endlessly churning activity of city life, to which the quiet, weightless ecstasy of ‘Phrase’ is the perfect response. ‘Antique’ (Antiquity) is the first of the work’s two sensuous hymns to physical beauty, the title suggesting a comparison with a classical Greek or Roman sculpture. Following the playful exuberance of ‘Royauté’ (Royalty) and the brightly-lit, choppy seascape of ‘Marine’, ‘Interlude’ marks the calm, expressive mid- point, as poet and composer quietly remind us who is in command of this parade of images. ‘Being Beauteous’ – the English title was Rimbaud’s own – is dedicated to Peter Pears, and its almost breathless sense of wonder balances that of ‘Antique’. Suddenly we are confronted with the unsavoury characters that inhabit ‘Parade’, a seedy urban landscape to match ‘Villes’, and again Rimbaud and Britten assert their ownership of the key that unlocks the meaning of the phantasmagorical dream-world we have experienced. In ‘Départ’ that key turns to close the door on what we have seen and heard. The sights and sounds have been experience to the full, and we can take our leave, with the pulsing repeated notes of ‘Being Beauteous’ echoing behind the voice as we do so.
Load more

Recommended publications
  • Little Things Make Big Things Happen - Celebrating Success in a Challenging Environment
    little things make big things happen - celebrating success in a challenging environment Richmond Fellowship is a registered social landlord (Housing Corporation Registration No. H2025), a registered charity (Registration No. 200453) and a company limited by guarantee (No. 662712). Richmond Fellowship’s Board adopted the National Housing Federation Code of Governance in 1996. Richmond Fellowship is a member of the Independent Housing Ombudsman Scheme. 02 little things make big things happen - celebrating success in a challenging environment BOARD OF DIRECTORS David Brindle Derek Caren, Chief Executive Peter Corley, Chair ‘Our mission is: Barbara Deacon-Hedges Stephanie De La Haye Diane French, Director of Performance and Quality making Nigel Goldie Ian Hughes Raj Lakhani, Director of Finance Rebecca Pritchard recovery Stuart Riggall, Director of People and Organisation Development Kevin Tunnard, Director of Operations AUDIT AND ASSURANCE COMMITTEE reality Peter Corley Barbara Deacon-Hedges, Chair David Kennedy Rebecca Pritchard creating our future... step by step! 4 REMUNERATION COMMITTEE success in a challenging environment 6 Peter Corley Barbara Deacon-Hedges challenges and opportunities 7 Nigel Goldie, Chair learning from the olympics 8 small steps, big achievements 10 PATRON a snapshot of what service users achieved, in their own words! 16 HRH Princess Alexandra and finally, great staff make great differences 18 VICE PATRON annual accounts & staff statistics 2012 20 The Most Reverend and Right Honourable Dr. Rowan Williams, statutory sector purchasers 22 Archbishop of Canterbury HEAD OFFICE 80 Holloway Road For more information about RF’s work and its Services, please contact: London N7 8JG Marise Willis: T: 020 7697 3359 E: [email protected] T: 020 7697 3300 or visit our website www.richmondfellowship.org.uk F: 020 7697 3301 www.richmondfellowship.org.uk 03 little things make big things happen - celebrating success in a challenging environment Creating our future..
    [Show full text]
  • Kent Academic Repository Full Text Document (Pdf)
    Kent Academic Repository Full text document (pdf) Citation for published version Nikolopoulou, Marialena and Martin, Karen and Dalton, Ben (2015) Shaping pedestrian movement through playful interventions in security planning: what do field surveys suggest? Journal of Urban Design . pp. 1-21. ISSN 1357-4809. DOI https://doi.org/10.1080/13574809.2015.1106913 Link to record in KAR http://kar.kent.ac.uk/53859/ Document Version Publisher pdf Copyright & reuse Content in the Kent Academic Repository is made available for research purposes. Unless otherwise stated all content is protected by copyright and in the absence of an open licence (eg Creative Commons), permissions for further reuse of content should be sought from the publisher, author or other copyright holder. Versions of research The version in the Kent Academic Repository may differ from the final published version. Users are advised to check http://kar.kent.ac.uk for the status of the paper. Users should always cite the published version of record. Enquiries For any further enquiries regarding the licence status of this document, please contact: [email protected] If you believe this document infringes copyright then please contact the KAR admin team with the take-down information provided at http://kar.kent.ac.uk/contact.html Journal of Urban Design ISSN: 1357-4809 (Print) 1469-9664 (Online) Journal homepage: http://www.tandfonline.com/loi/cjud20 Shaping pedestrian movement through playful interventions in security planning: what do field surveys suggest? Marialena Nikolopoulou, Karen Martin & Ben Dalton To cite this article: Marialena Nikolopoulou, Karen Martin & Ben Dalton (2015): Shaping pedestrian movement through playful interventions in security planning: what do field surveys suggest?, Journal of Urban Design, DOI: 10.1080/13574809.2015.1106913 To link to this article: http://dx.doi.org/10.1080/13574809.2015.1106913 © 2016 The Author(s).
    [Show full text]
  • The Fire Station Project the Fire Station
    THE FIRE STATION PROJECT THE FIRE STATION THE FIRE STATION PROJECT THE FIRE STATION PROJECT ACME STUDIOS’ WORK/LIVE RESIDENCY PROGRAMME 1997 – 2013 1 THE FIRE STATION PROJECT Published in 2013 by Acme Studios 44 Copperfield Road London E3 4RR www.acme.org.uk Edited by Jonathan Harvey and Julia Lancaster Designed by AndersonMacgee/Flit London Typeset in DIN and Avenir Printed by Empress Litho The Fire Station Project copyright © Acme Studios and the authors ISBN: 978-0-9566739-5-4 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electrical, mechanical or otherwise, without first seeking the permission of the copyright owners and the publishers. Cover illustrations: Robert Ian Barnes Architects 2 Acme Studios is a London-based housing charity dedicated to supporting artists in economic need through the provision of studios, accommodation and professional support. Acme manages 16 buildings providing affordable, long-term and high-quality studios (620) units and work/live space (20 units). Through this resource it helps over 700 artists each year. Acme’s Residency & Awards Programme adds to this core service of studio provision by awarding selected UK-based artists with studio residencies, bursaries, professional mentoring and exhibiting opportunities at the Acme Project Space, working with a range of partners. At any one time over 20 artists benefit from this support. Acme’s International Residencies Programme currently manages 23 annual London residencies on behalf of eight agencies together with an Associate Artist Residencies programme for international artists applying directly to the organisation.
    [Show full text]
  • Bbc Corporate Responsibility Performance Review 2012
    BBC CORPORATE RESPONSIBILITY PERFORMANCE REVIEW 2012 For more information see www.bbc.co.uk/outreach 2 Contents Welcome to our latest Corporate Responsibility Performance Review, the last during my time as Director-General. Introduction 3 The BBC’s focus as an international public service broadcaster continues to be on distinctive output, improved value for money, Outreach and the BBC’s Public Purposes 5 doing more to serve all our audiences and being even more open about what we do. Our strategic six-year plan, Delivering Quality Sustainability 13 First, and the long term savings we need to find to live within our means have inevitably meant some tough choices in 2011/12; Our Business 18 however, some things are not negotiable. Supporting Charities 25 BBC licence fee payers expect high quality content across our services; they also expect the BBC to meet the highest standards in Looking Ahead 30 how we behave as an organisation. I believe we are delivering on both of those expectations. In this remarkable year for the UK it has been a source of pride that the work we do beyond broadcasting to benefit our audiences has been so imaginative, collaborative and far-reaching. Cover image: Stargazing Live Oxfordshire, A Stargazing LIVE event at the Rollright Stones, Oxfordshire, organised by Chipping Norton Amateur Astronomy Group attracted around 150 enthusiasts. Mark Thompson Photo: Mel Gigg, CNAAG For more information about other areas of our business, please 3 Introduction see the BBC Annual Report and Accounts the London 2012 Apprenticeships scheme is now building an Olympics legacy in training and careers.
    [Show full text]
  • An Introduction to Corporate Responsibility at the BBC
    AN INTRODUCTION TO CORPORATE RESPONSIBILITY AT THE BBC For more information, see www.bbc.co.uk/outreach. “ WE SUPPORT OUTREACH INITIATIVES ACROSS THE BBC’S SIX PUBLIC PURPOSES. THESE ACTIVITIES BRING US faCE-TO-faCE WITH OUR AUDIENCES, AND OFTEN INCLUDING THOSE HARDER TO REACH THROUGH BROADCASTING.” ALEC MCGIVAN, HEAD OF BBC OUTREACH COVER Young viewers operating a camera at the National Media Museum in Bradford during February’s half-term, when the EastEnders interactive experience and display came to town. 01 INTRODUCTION 12 CHARITIES 02 THE BBC’S PURPOSES 16 MAJOR INITIATIVES 04 BEYOND THE BROADCAST AND PLANS 08 ENVIRONMENT 17 TEAM INTRODUCTION CORPORATE RESPONSIBILITY, OUTREACH AND PARTNERSHIP WORK ARE CENTRAL TO THE BBC, AND A STRONG SENSE OF PUBLIC SERVICE IS AT THE HEART OF ALL THAT WE DO. The BBC Outreach team is responsible for developing Corporate Responsibility Policy and Strategy for the BBC as well as promoting sustainable business and ethical practises across the organisation. We are also the part of the BBC that tracks and measures the BBC’s environmental impact. During the year, we once again took part in Business in the Community’s Corporate Responsibility Index and maintained our Platinum ranking, reflecting the high standards we aim to achieve in managing our business responsibly. A major part of our function is to support outreach initiatives across the BBC, and communicate the impact of this ‘beyond broadcast’ work throughout the year. We also run two of the BBC’s corporate charities – the BBC Wildlife Fund and the BBC Performing Arts Fund – and work throughout the year to support these causes.
    [Show full text]
  • Dis/Embedded Geographies of Film: Virtual Panoramas and the Touristic
    Space and Culture http://sac.sagepub.com/ Dis/embedded Geographies of Film: Virtual Panoramas and the Touristic Consumption of Liverpool Waterfront Les Roberts Space and Culture 2010 13: 54 DOI: 10.1177/1206331209353691 The online version of this article can be found at: http://sac.sagepub.com/content/13/1/54 Published by: http://www.sagepublications.com Additional services and information for Space and Culture can be found at: Email Alerts: http://sac.sagepub.com/cgi/alerts Subscriptions: http://sac.sagepub.com/subscriptions Reprints: http://www.sagepub.com/journalsReprints.nav Permissions: http://www.sagepub.com/journalsPermissions.nav Citations: http://sac.sagepub.com/content/13/1/54.refs.html Downloaded from sac.sagepub.com at University of Liverpool on October 29, 2010 Space and Culture 13(1) 54 –74 Dis/embedded Geographies © The Author(s) 2010 Reprints and permission: http://www. sagepub.com/journalsPermissions.nav of Film: Virtual Panoramas DOI: 10.1177/1206331209353691 and the Touristic Consumption http://sac.sagepub.com of Liverpool Waterfront Les Roberts1 Abstract Drawing on archive film footage of Liverpool waterfront shot by tourists and other visitors to the city in the first half of the 20th century, this article examines the touristic construction and consumption of a panoramic space of representation that was materially embedded within the everyday flux of a thriving urban–industrial landscape. The deindustrialization of the waterfront and the closing up of the river as a well-integrated social landscape (epitomized by the closure of the dockside Overhead Railway in 1956) have precipitated a certain shift in the various “ways of seeing” that have hitherto structured the tourist gaze in Liverpool.
    [Show full text]
  • Urban Screens Reader and Sabine Niederer 2 Urban Screens Reader 3
    EDITED BY SCOTT MCQUIRE, MEREDITH MARTIN URBAN SCREENS Reader AND SABINE NIEDERER 2 URBAN SCREENS Reader 3 Urban Screens Reader Editors: Scott McQuire, Meredith Martin and Sabine Niederer Editorial Assistance: Geert Lovink and Elena Tiis Copy Editing: Michael Dieter and Isabelle de Solier Design: Katja van Stiphout Printer: Raamwerken Printing & Design, Enkhuizen Publisher: Institute of Network Cultures, Amsterdam 2009 ISBN: 978-90-78146-10-0 Contact Institute of Network Cultures Phone: +3120 5951866 EDITED BY Fax: +3120 5951840 SCOTT MCQUIRE, Email: info@networkcultures MEREDITH MARTIN Web: http://www.networkcultures.org AND SABINE NIEDERER INC READer #5 Order a copy of this book by sending an email to: [email protected] A pdf of this publication can be downloaded freely at: http://www.networkcultures.org/publications Join the Urban Screens mailing list at: http://www.listcultures.org Join the International Urban Screens Association at: http://www.urbanscreensassoc.org Supported by: the Dutch Ministry of Education, Culture and Science in collaboration with Virtueel Platform, the Faculty of Arts, University of Melbourne, the School for Com- munication and Design at the Amsterdam University of Applied Sciences, MediaLAB Amsterdam and the International Urban Screens Association. The editors would also like to acknowledge the assistance of the Australian Research Council LP0989302 in supporting this research. Special thanks to all the authors for their contributions, and to Michael Dieter for his careful copy-editing. This publication is licensed under the Creative Commons Attribution Noncommercial No Derivative Works 2.5 Netherlands License. To view a copy of this license, visit: http://creativecommons.org/licenses/by-nc-nd/2.5/nl/deed.en No article in this reader may be reproduced in any form by any electronic or mechanical means without permission in writing from the author.
    [Show full text]
  • Here There Is Low Engagement with the Arts
    WITHOUT WALLS ASSOCIATE TOURING NETWORK 2013 - 2015 Engaging new audiences through Outdoor Arts ©Ashley Bird ©Ashley Foreword from Without Walls Being part of the Without Walls Associate Touring Network has been fundamental to the development of Derby Festé over the past three years. The programme has allowed for us not only to develop artistically but also to invest resources in audience development. Initiatives such as the Ambassadors Scheme has meant the festival has had significant Foreword from impact in areas of the city which have not previously engaged allowing Arts Council us to diversify our audience. Stephen Munn, Artistic Lead, Derby Festé England 2 Without Walls is a consortium of commissioning Without Walls team, the festival partners, the Foreword from festivals, dedicated to supporting inspirational artists, and countless festival volunteers, 1.3 new outdoor work. Since 2007, with the support million people from all backgrounds and walks Without Walls of Arts Council England and a range of other of life, have enjoyed free, high quality outdoor partners, we have supported over 80 new shows, performance in their local communities. of all scales and genres, transforming the landscape of outdoor arts in the UK. As we make plans for our continued development of the ATN, this document is The Without Walls Associate Touring Network created as a way of evidencing some of the (ATN), established in 2013 with support from achievements of this work as well as sharing the Arts Council England’s Strategic Touring Funds, learning from the first three years of this project. has been a hugely successful extension of our It celebrates the inventiveness of the artists, the work, touring these shows to a wider network creativity of the festivals, and the diversity of the of festivals across the country accompanied audiences who enjoy this most democratic of by a range of creative audience development art forms.
    [Show full text]
  • Uva-DARE (Digital Academic Repository)
    UvA-DARE (Digital Academic Repository) Urban screens reader McQuire, S.; Martin, M.; Niederer, S. Publication date 2009 Document Version Final published version Link to publication Citation for published version (APA): McQuire, S., Martin, M., & Niederer, S. (2009). Urban screens reader. (INC reader; No. 5). Institute of Network Cultures. http://www.networkcultures.org/_uploads/US_layout_01022010.pdf General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:06 Oct 2021 EDITED BY SCOTT MCQUIRE, MEREDITH MARTIN URBAN SCREENS Reader AND SABINE NIEDERER 2 URBAN SCREENS Reader 3 Urban Screens Reader Editors: Scott McQuire, Meredith Martin and Sabine Niederer Editorial Assistance: Geert Lovink
    [Show full text]
  • Crossing Boundaries the Role of Cross-Art-Form and Media Venues in the Age of 'Clicks' Not 'Bricks'
    Crossing Boundaries The role of cross-art-form and media venues in the age of 'clicks' not 'bricks' May 2008 tom fleming / creative consultancy for UK Film Council in association with Arts Council England and the Arts and Humanities Research Council ………………………… 2 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council Sheffield Showroom Foreword 6 Executive Summary 7 1. Introduction 13 1.1 Three Thematic Areas 18 1.1.1 Creative Place-Making 18 1.1.2 Creative Economy 19 1.1.3 Creative Infrastructure 19 1.2 Two Footprints: the Physical 20 and the Digital 1.2.1 Digitalisation – Opening up the 24 Venues? 1.2.2 Convergence and Public Sector 27 Publishing: Life in the Age of Generation YouTube 1.3 From ‘Infrastructure for You’ 29 to ‘Infrastructure by You’ 1.4 Cultural Intermediaries 31 2. The Role and Impact 36 of the Venues 2.1 Creative Place-Making 41 2.1.1 Creative Place-Making: Leading the 45 Change 2.2 Creative Economy: Creating 54 Spaces Where Interactions take Place ………………………… 4 tom fleming / creative consultancy UK Film Council in association with Arts Council England and the Arts and Humanities Research Council 2.2.1 Knowledge Transfer and Exchange: 55 the Spaces Where Interactions Can Take Place 2.2.2 Business Support and mentoring: 59 Skills and Capacity for the Knowledge Economy 2.2.3 Extreme Collaboration and 62 Convergence: The Spark for Innovation and Creativity 2.2.4 Showcasing and Engaging: 67 Supporting Talent and Facilitating Debate 2.3 Creative Infrastructure – 71 Cultural Intermediaries for Democratised Culture 2.3.1 Cinema at the Centre: Programming 72 the Venues 3.
    [Show full text]
  • BBC Outreach Corporate Responsibility Report 2007/08
    1 BBC Corporate Responsibility Report 2007/08 BBC Corporate Responsibility Report 2007/08 2 Welcome Welcome to the BBC Corporate Responsibility Report produced by BBC Outreach. BBC Outreach’s work is about making the BBC’s commitment to our stakeholders stronger and more inclusive. It’s about making us a better business in the way we work and the way we impact and interact with communities and all those to whom we broadcast. Our report will demonstrate how outreach, corporate responsibility and partnership work directly supports the BBC’s six Public Purposes and is vital if we are to achieve them. It will also cover what the BBC does to ensure that our operations, including our impact on the environment, are managed in a responsible manner. We hope you find the content of this report interesting and welcome your feedback. Alec McGivan Head of BBC Outreach BBC Outreach Room 4171, White City, 201 Wood Lane, London W12 7TS T: 020 8752 6761 E: [email protected] BBC Corporate Responsibility Report 2007/08 3 ContentsContents Introduction 04 Citizenship 08 Learning 14 Creativity 18 Community 24 Global 31 Communications 36 Environment 41 Charity 47 Our business 54 Verification 62 4 4 Introduction BBC Corporate Responsibility Report 2007/08 Why should you read this report? This report is written for the many stakeholders who have an interest in the BBC. The BBC exists to serve the public, and has a responsibility to account to licence fee payers everywhere for its actions. “ The BBC’s role and remit is set out in its Royal Charter, established by Being” responsible the Government on behalf of the Crown and debated in Parliament.
    [Show full text]
  • 2-Deaf and Disabled Artists Case Study
    ( ( ( ( ( London 2012 Cultural Olympiad Evaluation Appendix 2 | Case Studies Arts and Disability $ $ 25$April$2013$ $ $ $ Kate(Rodenhurst( Research$Associate$ Institute$of$Cultural$Capital$ $ $ $ $ $ $ $ Cultural(Olympiad(Evaluation(Team( $ Dr$Beatriz$Garcia,$Evaluation$Director$ Tamsin$Cox,$Lead$Project$Collaborator$ $ $ $ $ The$Institute(of(Cultural(Capital$is$a$strategic$association$between$ the$University$of$Liverpool$and$Liverpool$John$Moores$University$ $$London%2012%Cultural%Olympiad,%CASE%STUDIES$|$Art$and$disability$$$$$$2$ Table of Contents $ Table$of$Contents$...................................................................................................................................$2$ 1.$ Projects$overview$............................................................................................................................$3$ 1.1$ Key$Findings$..................................................................................................................$3$ 1.2$ Arts$and$disability$programmes$in$the$Cultural$Olympiad$............................................$4$ 1.3$ Context$.........................................................................................................................$5$ 1.4$ Impacts$on$artists$.........................................................................................................$6$ 1.5$ Impacts$on$audiences$and$participants$........................................................................$6$ 1.6$ Impacts$on$the$cultural$sector$......................................................................................$7$
    [Show full text]