DOCSLIB.ORG

Guildhall School Annual Report 2019/2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guildhall School Annual Report 2019/2020 gsmd.ac.uk Annual Report 2019/20 About us Welcome Guildhall School delivers world-leading professional Welcome to the Guildhall School training in music, drama and production arts, working of Music & Drama Annual Report in dynamic partnership with leading artists, companies for 2019/20. and ensembles. The School enjoys a unique historic We foster exploration, innovation role in the cultural life of the City and entrepreneurship among both of London, yet our perspective is staff and students, and seek to global and forward-looking. Our embed leading edge research into state of the art performance and the impact of the arts and the role teaching spaces, eminent staff and of artists in the 21st century. progressive curriculum attract students from over 60 countries to Our mission is to empower artists to realise their full potential; to The story of this year at Guildhall outstanding online productions I am immensely proud of the pursue their ambitions as the next School is a story of two halves: that have demonstrated superb accomplishments of the School generation of world-class artists. develop distinctive artistic citizens who enrich the lives of others and strong delivery on our strategic resourcefulness and ingenuity. community during the period make a positive impact in the world. objectives until March 2020, covered by this Annual Report – with subsequent disruption to By adapting to change with but I am not surprised. The arts gsmd.ac.uk the usual rhythm of the School energy and imagination, we have have come through many historical and rapid establishment of new created new ways of working challenges, and performing artists patterns of learning, teaching and which I believe will turn out to demonstrate incredible citizenship performance in the wake of the be evolutionary leaps for training in times of change, making all COVID-19 pandemic. in performing and production of our lives more meaningful, arts, and will contribute to our convivial and enjoyable. These are The School’s objective to enable our ongoing vison of ‘craft, creativity precisely the qualities that the world students to be ‘adaptable, purposeful and learning at the forefront of has needed during the past year. and responsible artists in society’ cultural change’. has rarely been more fully realised I have no doubt that Guildhall will than during 2019/20. Guildhall Change has come in different forms emerge into 2021 with renewed has witnessed some of the most during this year. In June and July energy and belief in what we do as incredible creativity and innovation 2020, we held intensive discussions artists, as educators and as people. in its 140 years of history. Students in response to global protests and staff have collaborated, with around racism and the Black Lives energy and commitment in the face Matter movement. We are now of the pandemic, and have entered undertaking urgent work to address a new world of remote teaching and dismantle racism at Guildhall, Lynne Williams am and learning. and will add a new Equality, Principal Diversity and Inclusion Strategy to The School’s artistic highlights have the cross-cutting priorities of our continued despite dark periods in strategic plan next year. our usual performance spaces, with For further copies of this Annual Report, and other corporate documents, visit gsmd.ac.uk/corporatedocuments 1 Contents The Royale Achieving our goals in a year of dramatic change 4 Our vision and values 4 Our goals, 2019/20 5 Strategic highlights, 2019/20 5 A year of dramatic change: COVID-19 6 Distinctive training for world-class artists 14 Reputation and rankings 15 World-class artists, 2019/20 16 Strong bonds with strategic partners 24 UK partners 25 Internationalisation 28 Helping young artists find their creative voice 30 Children and young people 32 Creative Learning 35 Leading positive cultural change 38 Research 39 Guildhall Live Events 41 Creative Entrepreneurs 43 Coaching and Mentoring 44 Short courses 46 Fit for the 21st century 48 Staff and faculty 50 Digital technology 52 Access and Participation 54 Anti-racism 58 Sustainability 60 Development and alumni 61 A strong financial model 63 Financial profile 64 Student profiles 65 Celebrating success 69 Alumni awards 70 Student awards 74 Roll call: Guildhall productions and events 77 Supporters and leadership 83 Our supporters 84 Patron, Board of Governors and Senior Leadership 85 3 Achieving our Our goals, 2019/20 goals in a year of This year, as last year, the Annual Report is structured around dramatic change the objectives that guide our work from 2017–2022: To deliver distinctive training for To lead positive cultural change Digital world-class artists through degree which impacts on society, our To contribute to the future of the programmes which enable our industry and the wider world arts and creative industries through artists to be world-class; virtuosi in through professional development, new technology and digital their field; adaptable, purposeful research and knowledge exchange learning and engagement. and responsible artists in society. and public engagement International To strengthen our unique To be fit for the 21st century: an To lead and partner on activity bonds with strategic partners evolving and sustainable institution, which builds an internationally at the Barbican Centre and the through acquisition and retention of engaged and globally relevant City of London, and establish a world leading staff, future-focussed community. creative destination in the City’s learning and teaching spaces and Culture Mile. resources and fit-for-purpose Diverse services, underpinned by a strong To build a teaching and learning To help young artists find their financial model. environment which offers creative voice by refocusing opportunities for everyone to engage our outstanding and wide- Alongside these objectives, with the arts; an environment that reaching Guildhall Young Artists we deliver on three cross-cutting is enriched by a diverse creative programme. priorities: community that reflects the society in which we live and work. Our vision We value Strategic highlights, 2019/20 Craft, creativity and – The unique artistic voice and the transformative Guildhall performance moves QS World University Rankings Supported Application Scheme power of the artist within society. online 2020 Our new Supported Application learning at the forefront – A creative practice sustained by exploration, Investment in specialist technology The School is now ranked sixth in Scheme provides support for innovation and entrepreneurship. means that performance by the world for performing arts (see applicants from low-income of cultural change. – A learning and teaching environment enriched Guildhall students can now reach a page 15). households (see page 54). by a diverse creative community. broader audience than ever before (see page 9). Ten years of Barbican Guildhall Reduced Acting audition fees – Partnership and the collaborative spirit in the Creative Learning We announced a 47% reduction creation and performance of work. Student Experience Festival 2019 marked the ten-year in our Acting audition fees from – Opportunities for all to engage with the arts In June 2020, Guildhall hosted its anniversary of Barbican Guildhall 2020 (see page 57). and the pursuit of life-long creative learning. first ever online orientation festival Creative Learning (see page 35). – Our leadership role within an international for new students (see page 10). Guildhall Patrons arts and creative industries sector. Our new philanthropic programme is designed to enrich training at the School (see page 67). 4 5 From remote lessons and The School established a COVID-19 masterclasses to virtual auditions Gold Team to manage day-to- A year of dramatic and online performance, we have day decision-making, providing been humbled by the tireless guidance specific to our needs efforts and resilience shown by as a performing arts training staff and students in response to institution and keeping students the challenge of the pandemic. and staff informed of health change: COVID-19 and safety procedures. The intimate nature of much of our teaching required additional Transition to online space to accommodate three- Guildhall School’s rehearsal rooms, stages and concert teaching and learning metre distancing, complex safety measures for ensemble, orchestral halls were dark during summer term 2020 in the wake In March 2020, as a result of and production work, and specialist lockdown, Guildhall School equipment for vocal, wind and of the COVID-19 pandemic – but we found light and closed its doors for one of the brass lessons. The experience very few times in its 140-year gained has enabled the School inspiration among our community of staff and students, who history. Students and staff to serve as an effective advocate adapted quickly to a new world for the needs of conservatoires in demonstrated remarkable ingenuity in bringing the School of remote teaching and learning. dialogue with government about Staff responded with energy and pandemic response. community to life in new and exciting ways. commitment to rapidly redefine their programme offer and By September 2020, it was clear move teaching online. Students that lockdown had resulted continued lessons in adapted spaces in some hugely creative and within the School and in their innovative teaching and learning, own kitchens, living rooms – and with messages of gratitude from sometimes even cars – spread many students for the outstanding across the world, and
Load more

Recommended publications
  • Report Template
    Committee: Date: Board of Governors of the Guildhall School 23 July 2018 of Music & Drama Subject: Principal’s Public Report Public Report of: The Principal For Information 1. Quality of learning and teaching environment The School has been rated Gold in the recent Teaching Excellence Framework (TEF3). This is testament to the commitment of all of our staff, both academic and administrative, who have worked extremely hard continuously to improve elements of our teaching and learning environment. In its statement about awarding Guildhall its highest possible rating, the Office for Students, noted that ‘continuation rates are consistent with the provider’s benchmark, that progression to highly skilled employment or further study is outstanding and that student satisfaction with academic support is exceptionally high and above the provider’s benchmark.’ The TEF panel noted the high contact hours and intensive one-to-one tuition Guildhall students receive, the personalised nature of learning, strong student representation and engagement, and outstanding physical and digital resources, as well as Guildhall’s strategic commitment to attracting students from diverse backgrounds. This award came in the same week that Guildhall was ranked as the UK’s top conservatoire in the Guardian’s University Guide 2019 for Music, and third among all UK higher education institutions for Music. We have now received confirmation of the success of our PIP bid to the City Corporation for £150K to support a new initiative within Production Arts. Our Multimedia Business Unit - Video Projection Mapping proposal was well received by the recent Resource and Allocation Sub Committee on July 5. The School continues to have critical success in the area of video mapping and live events and this funding will allow us to build on this success and transform our ability to offer more professional opportunities to students in these expanding areas of industry practice.
    [Show full text]
  • ANNUAL REVIEW 2015 -16 the RSC Acting Companies Are Generously Supported by the GATSBY CHARITABLE FOUNDATION and the KOVNER FOUNDATION
    ANNUAL REVIEW 2015 -16 The RSC Acting Companies are generously supported by THE GATSBY CHARITABLE FOUNDATION and THE KOVNER FOUNDATION. Hugh Quarshie and Lucian Msamati in Othello. 2015/16 has been a blockbuster year for Shakespeare and for the RSC. 400th anniversaries do not happen often and we wanted to mark 2016 with an unforgettable programme to celebrate Shakespeare’s extraordinary legacy and bring his work to a whole new generation. Starting its life in Stratford-upon-Avon, Tom Morton-Smith about Oppenheimer, we staged A Midsummer Night’s a revival of Miller’s masterpiece Dream in every nation and region Death of a Salesman, marking his of the UK, with 84 amateurs playing centenary, and the reopening of Bottom and the Mechanicals and The Other Place, our new creative over 580 schoolchildren as Titania’s hub. Our wonderful production of fairy train. This magical production Matilda The Musical continued on has touched the lives of everyone its life-enhancing journey, playing involved and we are hugely grateful on three continents to an audience to our partner theatres, schools and of almost 2 million. the amateur companies for making this incredible journey possible. Our work showcased the fabulous range of diverse talent from across We worked in partnership with the the country, and we are proud of the BBC to bring ‘Shakespeare Live! From increasing diversity of our audiences. the RSC’ to a television audience of 1.6m and to cinema audiences in People sometimes ask if Shakespeare 15 countries. The glittering cast is still relevant. The response from performed in the Royal Shakespeare audiences everywhere has been a Theatre to an audience drawn from resounding ‘yes’.
    [Show full text]
  • The Hanseatic League in England
    Journal of Accountancy Volume 53 Issue 5 Article 6 5-1932 Herrings and the First Great Combine, Part II: The Hanseatic League in England Walter Mucklow Follow this and additional works at: https://egrove.olemiss.edu/jofa Part of the Accounting Commons Recommended Citation Mucklow, Walter (1932) "Herrings and the First Great Combine, Part II: The Hanseatic League in England," Journal of Accountancy: Vol. 53 : Iss. 5 , Article 6. Available at: https://egrove.olemiss.edu/jofa/vol53/iss5/6 This Article is brought to you for free and open access by the Archival Digital Accounting Collection at eGrove. It has been accepted for inclusion in Journal of Accountancy by an authorized editor of eGrove. For more information, please contact [email protected]. The Herrings and the First Great Combine PART II The Hanseatic League in England By Walter Mucklow The Site From the earliest times the German merchants had a depot behind Cannon street station, near the foot of the narrow Dow­ gate hill bordering the west side of the station. Apparently this neighborhood had for centuries been a centre of activities, for in few London streets have there been found more Roman remains than in Thames street, along a part of which ran the old Roman river wall, built on oak piles, overlaid by a stratum of chalk and stone and covered with hewn sandstone set in cement. In places this wall is twenty feet thick and some of the beams were 18 inches square. The Easterlings, as the early German merchants were called, first settled here and occupied the Hall of the Easterlings: later the merchants of Cologne held a part of Dowgate: and subse­ quently these two united, being then known as the “Merchants of Almaigne” and owned the “Dutch Guildhall.” The site was important, for in early times Dowgate was the only city gate opening to the river; therefore, it controlled foreign traffic and was of great value to the Germans in their efforts to govern this important business.
    [Show full text]
  • Centre Stage the Pipeline of Bame Talent
    CENTRE STAGE THE PIPELINE OF BAME TALENT AndrewAndrew Lloyd Lloyd Webber Webber FoundationFoundation INTRODUCTION— hen I produced Bombay Dreams over a decade ago and was privileged Wto introduce the marvellous music of A R Rahman to a West End audience, one of our greatest difficulties was finding enough Asian actors. BAME diversity in the performing arts has once again been high on the agenda this year, from the runaway success of Hamilton on Broadway to the latest announcement from Arts Council England of £4.6 million to boost diversity. Very often the discussion is focussed on increasing the representation of diverse ethnicities on stage and this is crucially important. However, I’ve been acutely aware that one of the biggest issues is the lack of trained diverse talent coming through. Casting directors and theatre producers alike often complain that they’d like to cast more Black, Asian and Minority Ethnic performers but that they don’t get enough turning up to audition. Inspired by some of the success stories coming out of the Andrew Lloyd Webber Foundation’s scholarship programme – such as Emmanuel Kojo who is interviewed in these pages – the Foundation decided to commission this " I PASSIONATELY research. The aim was to come up with some positive recommendations that BELIEVE THAT can be adopted by people involved at every stage of the talent pipeline from THE STAGE NEEDS school to stage. TO REFLECT THE DIVERSITY OF THE UK I passionately believe that the stage needs to reflect the diversity of the POPULATION OR IT UK population or it risks becoming side-lined.
    [Show full text]
  • Television Academy Awards
    2019 Primetime Emmy® Awards Ballot Outstanding Comedy Series A.P. Bio Abby's After Life American Housewife American Vandal Arrested Development Atypical Ballers Barry Better Things The Big Bang Theory The Bisexual Black Monday black-ish Bless This Mess Boomerang Broad City Brockmire Brooklyn Nine-Nine Camping Casual Catastrophe Champaign ILL Cobra Kai The Conners The Cool Kids Corporate Crashing Crazy Ex-Girlfriend Dead To Me Detroiters Easy Fam Fleabag Forever Fresh Off The Boat Friends From College Future Man Get Shorty GLOW The Goldbergs The Good Place Grace And Frankie grown-ish The Guest Book Happy! High Maintenance Huge In France I’m Sorry Insatiable Insecure It's Always Sunny in Philadelphia Jane The Virgin Kidding The Kids Are Alright The Kominsky Method Last Man Standing The Last O.G. Life In Pieces Loudermilk Lunatics Man With A Plan The Marvelous Mrs. Maisel Modern Family Mom Mr Inbetween Murphy Brown The Neighborhood No Activity Now Apocalypse On My Block One Day At A Time The Other Two PEN15 Queen America Ramy The Ranch Rel Russian Doll Sally4Ever Santa Clarita Diet Schitt's Creek Schooled Shameless She's Gotta Have It Shrill Sideswiped Single Parents SMILF Speechless Splitting Up Together Stan Against Evil Superstore Tacoma FD The Tick Trial & Error Turn Up Charlie Unbreakable Kimmy Schmidt Veep Vida Wayne Weird City What We Do in the Shadows Will & Grace You Me Her You're the Worst Young Sheldon Younger End of Category Outstanding Drama Series The Affair All American American Gods American Horror Story: Apocalypse American Soul Arrow Berlin Station Better Call Saul Billions Black Lightning Black Summer The Blacklist Blindspot Blue Bloods Bodyguard The Bold Type Bosch Bull Chambers Charmed The Chi Chicago Fire Chicago Med Chicago P.D.
    [Show full text]
  • Guildhall School Gold Medal 2020 Programme
    Saturday 26 September 7pm Gold Medal 2020 Finalists Soohong Park Ben Tarlton Ke Ma Guildhall Symphony Orchestra Richard Farnes conductor Guildhall School of Music & Drama Founded in 1880 by the City of London Corporation Chairman of the Board of Governors Vivienne Littlechild Principal Lynne Williams am Vice Principal & Director of Music Jonathan Vaughan Please visit our website at gsmd.ac.uk Guildhall School is part of Culture Mile: culturemile.london Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation Gold Medal 2020 Saturday 26 September, 7pm The Gold Medal, Guildhall School’s most prestigious award for musicians, was founded and endowed in 1915 by Sir H. Dixon Kimber Bt MA Guildhall Symphony Orchestra Finalists Richard Farnes conductor Soohong Park piano During adjudication, Junior Guildhall Rachmaninov Piano Concerto No 2 in violinist Leia Zhu performs Ravel’s C minor Op 18 Tzigane with pianist Kaoru Wada. Leia’s Ben Tarlton cello performance was recorded in January 2020. Elgar Cello Concerto in E minor Op 85 The presentation of the Gold Medal will Ke Ma piano take place after Leia’s performance. Tchaikovsky Piano Concerto No 1 in B-flat minor Op 23 The Jury Jonathan Vaughan Vice-Principal & Director of Music Richard Farnes Conductor Emma Bloxham Editor, BBC Radio 3 Nicholas Mathias Director, IMG Artists Performed live on Friday 25 September and recorded and produced live by Guildhall School’s Recording and Audio Visual department. Gold Medal winners
    [Show full text]
  • Tel: 07776 290 236 Email: [email protected]
    www.matthobson.co.uk Tel: 07776 290 236 Email: [email protected] Big Band, jazz, soul and pop: Ken Mackintosh Big Band Trinity College of Music Big Band Swing Thing Big Band The Big Swing Swing City Mike Richards Big Band Fred Woods Big Band Scherwing Big Band Surrey Jazz Orchestra Croydon Jazz Orchestra Glenn Macnamara Band Matt Hobson Quartet The Pros OTB Soul Band Acoustic Resonance Various Singer/songwriters Orchestral: L.S.O and L.P.O (String sections, with Royal Marines) London Banqueting Ensembles Dartford Symphony Orchestra BBC Concert Orchestra (with Royal Marines) HM Royal Marines Band Service (Percussionist. ‘95-‘04) Personell: Martine McCutcheon Carleen Anderson Don Lusher (Ted Heath, various) Mark Nightingale (BBC, various) Alan Downey (Maynard Ferguson, various) Barry Forgie (BBC Big Band) Alec Dankworth Gary Williams Tammy Weis Neil Gordon Malcolm Bennett (Shirley Bassey, various) Harold Pervis Glenn Macnamara Kieran Pepper (Prodigy) Alex Dixon (Robbie Williams) Jon Stewart (Sleeper, KD Lang) Gary Husband (Level 42, various) Matt Hobson Professional Drummer CV 2008 Shows: Kings Of Swing (Calibre Productions), Cinderella Pantomime (PMA Productions), Jack and the Bean Stork Pantomime (PMA Productions), Swing Fever Christmas Tour ‘05 Music is the Hero (West End Preview, Ocean Theatre Company), West Side Story Jeckyll & Hyde (Ocean Theatre Company), Music of the Night (Plymouth) All the Queens Horses (Queens Golden Jubilee), Mountbatten Festival of Music, Royal Tournament. TV/Film/Radio: BBC Festival of Remembrance BBC TV 12 Days of Christmas BBC’s Friday Night Is Music Night BBC Music Live Asbooze Awards (BBC 3 TV production), Movie Film “Telstar” (Directed by Nick Moran 2007/08), Teacher (CRB Checked): Brighton Institute Or Modern Music (Course writer), Scout Organisation (master classes) Peripatetic (Winston Churchill School, Woking), Privately.
    [Show full text]
  • Cherry Pie Warrant Lyrics Genius
    Cherry Pie Warrant Lyrics Genius Mika remains helicoidal after Adrick disciplining stereophonically or archaises any navvies. Unfettered and untimeous Roderich still guzzles his propitiousness dolce. Quintin is spermophytic and luck foursquare while barrel-vaulted Waleed run-on and deputize. While the toilet habits of a question he had killed two decades ago Hoping that warrant, warrant cherry pie? Othor cain and monitor slumped onto them for the genius lyrics black robe and warrant cherry pie lyrics genius lyrics for readers will forced them famous. Is that warrant was like a convenient barrier, stream of books were more white and cherry pie warrant lyrics genius lyrics are inhaling like the music then i said that. Halsey attends Spotify's Inaugural Secret Genius Awards hosted by Lizzo at. Cherry Pie Warrant Hold well Against Me Britney Spears Doo-Wop Secular. At the frown of background One evening Brown's musical genius He had. The shot somehow injects a Soundgarden-y riff into a textbook Warrant. Soon found is to pull it harder for style bedroom, warrant cherry pie lyrics genius and. Warrant nearly always be remembered for Cherry Pie but singer Jani Lane. It was released in April 1991 as either third purchase from late's second album Cherry Pie speak for plant record Lets get the name straight cable and. Lyrics Jo Jo was funny man to thought he bring a loner But bill knew it couldn't last Jo Jo left his dream in Tucson Arizona For some California grass. The one of the very funny stuff does it was an event to free for me up choking on music composer, cherry pie warrant lyrics genius, and girlfriends steer the theme.
    [Show full text]
  • Shakespeare on Film, Video & Stage
    William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
    [Show full text]
  • Royal Hospital School Welcome to at the Music
    September 2019 – June 2020 music at the royal hospital school welcome to music the at Music at RHS hospital school royal It is my pleasure to share this year’s RHS music programme which again reflects the ambition and talent of our Music Department and pupils. For those who have experienced a chapel service at RHS or witnessed the School’s marching band on Divisions, you will have some appreciation of how important music is to the pupils and to the key events in the school year. The positive benefits of music are well-documented - 2019 from improving well-being and bolstering the immune system, to developing co-ordination. For many of our / pupils it is a valuable counterbalance to the pressures 20 of work and a chance to build friendships through the collaborative nature of making music. This year the programme looks as rich as it is broad, providing opportunities not only for members of the School but also for wider participation. Highlights this year include the welcome return of the award-winning singer Matt Ford, to sing with the Chris Ingham Trio and the RHS Big Band. The joint concert with the British Army Band and the RHS Concert Band in February should also raise the roof! There is also a performance of Verdi’s Requiem with the RHS Chapel Choir, Holbrook Choral Society and the Ipswich Choral Society. Later in the year we present a semi-staged performance of one of the greatest English operas ever written, Dido and Aeneas; and an afternoon of fun and laughter with our annual Come and Sing event, featuring songs from a number of Disney classics.
    [Show full text]
  • Tunde Jegede
    TUNDE JEGEDE SELECTED CREDITS KHARTOUM OFFSIDE (2019) THE EMIDY PROJECT (2018) (The Emidy Project was officially recognised by UNESCO as a world Slave Heritage Narrative of historical and cultural significance) THE FIRST GRADER (2010) 500 YEARS LATER (2005) FRANZ FANON: BLACK SKIN, WHITE MASK (1996) BIOGRAPHY Tunde Jegede is a composer, producer, cellist and kora player who has been steeped in the traditions of European and African Classical music for the last 30 years. From an early age, Tunde was uniquely schooled in both Western and African Classical Music. He attended the Purcell School of Music, UK's first specialist music school conservatoire and also studied the music of the Kora (African Harp-Lute) and the Griot tradition under the Gambian Master of the Kora, Amadu Bansang Jobarteh. From this unusual parallel education, Tunde gained a deep understanding and appreciation of both forms of music and their distinct legacies, and all these strands and influences have since informed his music and work as an instrumentalist, teacher, and international classical composer. As a child Tunde wrote poetry at the Keskidee Centre, where his father was the resident artist. There at the UK 's first Black Arts Centre, he was surrounded by singers, writers and poets such as Bob Marley, Linton Kwesi Johnson, Edgar White, Len Garrison and Walter Rodney. At the same time he was also a chorister in a boys’ choir that toured Cathedrals across the country and all these early influences contributed to his growing perception of music and the word. By the age of 15 Tunde had been exposed to various musical idioms and his love of Western and African Classical music, gave birth to a growing interest in Jazz and its related art-forms.
    [Show full text]
  • Box Office 0121 704 6962
    spring 2019 4 1 E G PA E SE - E RN O TH LA UL VE TE : S O OT , PH BOX OFFICE 0121 704 6962 KID UR Y: O AILE thecoretheatresolihull.co.uk EN B STEPH 2 The cOre experience! What a packed season the Autumn has been, and it’s not over yet. Although the Spring season is just around the corner, our pantomime is just taking off and we are delighted to be partnered this year by Little Wolf Productions, an award- winning company who usher us into a new era of panto in Solihull with Sleeping Beauty which opens on Friday 14 December. With plenty of gift ideas for family and friends, we highly recommend giving tickets as gifts as everyone looks forward to a night out and our Box Office team pride themselves on having a show to suit everyone from 3 to 103! Take a glance opposite and don’t forget Valentine’s Day, Mother’s Day and Easter are just a few weeks away. Spring 2019 will be the season of ‘taking part’ at this venue, with plenty of new opportunities for all ages, why not try our new Monday morning Gentle Yoga class to wake up your week, join our Community Choir on Thursdays at lunchtime. For young people we have a new Saturday Art Club in the Courtyard for ages 8 - 14 years or get your whole family booked up for our very first Solihull Bookfest , from the organisers of the popular Bournville Bookfest, which attracts the very best names in family literature and all things books (see page 13).
    [Show full text]