A blog post by UoM Drama graduate, Cara Looij (Class of 2018)
U nderstanding is what you strive for as a curious person.
N urture your curiosity, but I’ll warn you – the more you learn… the less you know…
I magination is, however, something that will continue to grow.
O pen your mind to the universe’s abundance in the years to come. The
F uture is scary as hell, but remember to have fun.
M ountains come in different forms: reading, exams, essays and more
C reativity is something to keep alive in your core
R emind yourself frequently of why you started the climb
D rama is culture, art, space, action and time
R emember, your craft has the power to disrupt the paradigm
A rt is important, don’t let people convince you otherwise
M anchester will show you what I mean, it is a hive of busy bees
A nd their buzz is the bustle of the city’s life – you’ll see
D on’t compare yourself to everyone around you
E merse* yourself in what you make and do
P lease bee you, you’re best when you’re authentic
T hree years will be over before you know it.
(*deliberate spelling error alert*)
Are you a new student at the University of Manchester’s Drama department? Are you currently shitting yourself about what is to come over the next three years? Are you seeking some reassurance from an older and wiser soul to comfort you? Well good luck finding one because I have no idea what just happened but I somehow managed to graduate and Jenny has asked me to write a blog for the newbies … or new bees because we’re in Manchester! Here are my thoughts:
- Forget your a levels, they’re done, they were stressful as hell but they’re over now … they are not a barcode on your forehead. If you came to an open day you heard David Calder say “you are more than your a level results”. He is a wise man and I trust his judgement – you should too.
- You WILL make friends, on the course, in halls and beyond, it might not happen straight away, and it will feel like everyone else has more friends than they know what to do with and you are alone, but I assure you, this is not the case!
- University essays are different to a levels so read your feedback, meet up with your academic advisor, and go to the study skills sessions. It took me 3 years to figure out how to write an academic essay, I wish I’d spent more time in first year grasping an understanding of it because that’s when you have the “space to fail”. (on a side note – failure is not bad, often your downfalls are the things that you learn the most from!)
- Talk to people, stay in touch with your peer mentor and academic advisor, the latter is a particularly important person to have a strong rapport with. Eventually they will be writing references for you, so it’s good to get to know each other over the three years. Furthermore, life happens and things get challenging – you need to let your academic advisor know if you are struggling with anything that might be affecting your work, they can’t help if they don’t know.
- Get creative. Manchester is an incredible creative hub with so many opportunities for young artists, performers, writers, musicians, designers, photographers… you name it. Put yourself out there and try some new things- societies are a good start, but try to branch out, it’s good to have a diverse range of friends. I’ve included a list of organisations below!
List of things to get involved in:
- Contact theatre:
has a young company and the focus of the theatre is to engage people under the age of 30 so see what’s going on with them- they’re currently based at HOME.
- Royal Exchange theatre:
has initiatives for young directors and producers- definitely have a look.
- Stockport conversation club:
always in need of volunteers to teach English to refugees!
- Whitworth Art Gallery:
Has lots of workshops and events as well as some amazing rotating and permanent exhibitions!
- Islington Mill:
plenty going on there, though it’s in Salford it’s great for people who are interested in lots of different kinds of creative practice.
- Young Identity:
a poetry group based at Contact theatre (currently based at HOME) who meet weekly for creative writing workshops and are incredibly well connected in the literature and performance scene nationally.
- Drama Society
- Creative Writing society
- Shakespeare Society
- Studio Group: is usually in the John Thaw on a Wednesday evening from 6-9 … think of it as an experimental
is a multimedia arts platform which aims to open discussion around mental health through providing a space in which creatives can express their testimonies through creative practice. The first event was hosted in March of this year and their next event will be in October.
- Girl gang Manchester:
A creative event series + community promoting creativity, collaboration, confidence + positivity, to help inspire + support women to succeed in life work + society.
- Musical Theatre society
- Raw Forms Magazine:
A zine which was launched in March 2018. They are a platform for queer and minority voices to write about politics and culture.
- M(.)ist Collective:
a Queer women’s art collective who do events such as lesbian speed dating, exhibitions, performance evenings and parties.
Read blogs by other UoM Drama current students and recent graduates on their experience of studying at Manchester here –
In this post Sarah Eastaff, UoM Drama alumna, reflects on her work with theatre in educational and therapeutic contexts since graduating
I currently work for the learning department at the National Theatre – a post I took up after being the Learning and Engagement Officer for Education at Oldham Coliseum Theatre for some years. A large part of my role in Oldham involved leading on and delivering the Secondary Partnership Scheme, which focused on building effective relationships with secondary school teachers and supporting the development of students aged 12 to 16. Participating schools had access to subsidised workshops, tours, a fully technically supported main stage production and subsidised tickets to see professional work.
In this work, I regularly observed the power structures at play in education settings and my ongoing training as a play therapist has highlighted the ways in which theatre and play can disrupt the presumed hierarchies at play in schools. This disruption is valuable – it offers students artistic ownership and provides an opportunity to explore different power balances in working and learning environments.
Play therapy is rooted in Virginia Axline’s principles. Axline developed a client-centred method for working with children, drawing on Carl Roger’s person-centred approach to therapy. When in the play therapy room, the child leads the play, with the therapist following and observing, thus maintaining a non-directive environment. While the parent or guardian must consent for the child to come to play therapy, so must the child. The child can refuse to come to play therapy at any time, and this non-directive process provides an opportunity for the client to take and maintain ownership, autonomy and authority.
Formal education, however, is primarily delivered in a directive setting. In a pragmatic sense, schools need to manage timetables, safeguarding, exams and a myriad of unexpected situations. To do this, it is important that there are rules in place, but in the play therapy room, students are told that these rules do not apply. The play room can be situated in the school, creating a small space for rule breaking within the confines of the school. In my experience, this creates an initial exuberance in a child, and this is a moment that effectively informs the ‘client’ that this can be a place to explore emotions or experiences they may aim to avoid in school.
For the child to be able to explore therapeutic play effectively, there must be some boundaries in place. These boundaries include maintaining the safety of both the child and the therapist, as well as the room being safe and remaining consistent. The room can only stay consistent if the symbolic world the child creates stays in the room and so children cannot take toys or objects with them when they leave. Outside of this, the child has full agency and autonomy within the room. While in a traditional educational setting the child’s safety is maintained by the rules of the institution, and the focus is on directing a child’s learning, in play therapy there is an opportunity for the child to take the lead while still being kept safe.
Something similar can happen in ensemble work in theatre in education. When students are introduced to devising, choral work or directing they are handed the reins to the creative process. Many teachers I work with relish the freedom they can offer their students in a drama class, and as visiting facilitators had the opportunity to highlight this.
It is possible to blend some of the play therapy approach in to drama work in a more formal education setting. At the beginning of a devising process in a secondary school we can create a shared and accepted ‘boundary statement’; by creating a contract which enabled the students lead safely and with consent, students can become better able to take ownership of the process. These democratically chosen rules can be revisited throughout the rehearsal process. The contract may contain rules like: everyone respects each other’s opinion, arrives ready to work and can offer constructive criticism. By referencing the contract that the students have agreed, you are reflecting their own boundaries while also keeping them safe.
As a facilitator, providing time to experiment, to fail and to compromise is key. This is a valuable experience for students because they will be expected to direct their own lives as well as make their own theatre if they pursue a career in this area. When children are taught to jump through the hoops of exam questions, follow primarily directive curriculum learning, there may be a lack of experience of working without this structure, as young people are expected to do either at university or when leaving education. In theatre in education, the freedom to make their own work can impact students’ academic and artistic choices but also in a small way, their understanding of taking control. Similarly, in play therapy, the client leads their own therapeutic change.
Another connection relates to play therapy’s focus on non-directive language. As I work primarily in a non-directive manner, instead of asking questions or making suggestions, I reflect the child’s statements and physicality back to them to help them gain insight in their behaviour. This approach has resulted in some moments of illumination for clients I work with in therapeutic play. They have reflected on their statements and actions, having had the opportunity to observe their own behaviours.
What happens when this is applied to work as facilitators in schools? If a student devising a piece of theatre tells me, “I feel like we made progress this afternoon”, I might reflect “You feel the work this afternoon was good.” In the first instance, this allows the student an opportunity to examine their original statement, and potentially analyse it further. It also allows other people in the group to engage with the statement and offer their own opinions. In theory, students could respond immediately to the student’s statement; however as the facilitator you are in a position of power, and by reflecting students’ statements back to them you are redistributing some of that power and agency to them. In play therapy, there is a belief that the child has the tools to instigate their own change, and I apply this to theatre in education.
I am not advocating for the use of therapeutic practice in theatre in education. Therapy is based on a contract and an understanding of the boundaries in the sessions, the safeguarding procedures in place and the therapist’s professional experience and training. While the process of making theatre can be therapeutic for an individual, it can never be the aim. However, as this blog shows, I am very interested in utilising non-directive approaches to build an understanding of ensemble working and artistic control. If you are assisting groups of student actors on their devised piece, other cast members can direct and offer insight, for example. The shared rituals that we create can be suggested and led by different members of the group. In a school setting, you will always have the power as the adult in the room. While we as facilitators may aim to work against this, I believe that half of the battle is acknowledging your power and where possible, redistributing it.
Axline, Virginia M. (1964) Dibs: In Search of Self. London, Penguin Group.
Axline, Virginia M. (1969) Play Therapy. London, The Random House Publishing Group.
Follow Sarah on twitter @SarahEastaff
Announcing a new phase of In Place of War – Blog post by Ruth Daniel, CEO, In Place of War and Honorary Research Fellow in Drama, University of Manchester
In Place of War is pleased to announce that we have won a £1million research grant from the Arts and Humanities Research Council (led by Professor Oliver Richmond, Humanitarian and Conflict Response Institute – University of Manchester). In Place of War was born in the Drama department at The University of Manchester, and over the course of its nearly 15 years of life we are now a global organisation that uses artistic creativity in places of conflict as a tool for positive change. Our vision is to live in a world where creativity conquers conflict.
We enable grassroots change-makers in music, theatre and across the arts to transform cultures of violence and suffering into hope, opportunity and freedom. The organisation began with research led by a panel of leading academics into the transformative power of arts in places of conflict. This kick-started the creation of a new network of young creative change-makers spanning 24 countries. Today in Place of War helps to support the network across three pillars; the creation of cultural spaces, education & entrepreneurship and artistic collaboration.
The Art of Peace
“I fear we [peacebuilders] see ourselves to be – and have therefore become – more technicians than artists. By virtue of this shift of perception our approaches have become too cookie-cutter-like, too reliant on what proper technique suggests as a frame of reference, and as a result our processes are too rigid and fragile.” J.P. Lederach, Peace Scholar.
International interventions aimed at building peace in conflict and post-conflict societies have a rather negative track-record in achieving their objectives. One of the main explanations for this is the apparent inability of international actors to reach out and connect with local communities and leaders who are key in transforming societies and enabling a lasting peace.
In recent years, arts based approaches to peacebuilding have gained traction as an emerging area of research and practice typified by the work of Cynthia Cohen at Brandeis University and programmes delivered by NGOs Search for Common Ground and In Place of War and countless community projects. Despite these advances, arts based approaches to peacebuilding as an area of study and practice remains under researched. In particular, there is a deficit in understanding the impact community devised and led arts projects can have on peace formation at various stages of conflict amongst diverse actors. Thus, this project investigates the potential of grassroots led and devised arts projects in undertaking a key role in how peace emerges within a country and stresses the agency of local people to change their society. We aim to determine how arts can positively contribute to peace; this project builds a community of practice between academics, artists, practitioners and policy-actors to explore the transformative power of the creative arts in the context of conflict and peace. Creating an evidence-base around the impact of arts can shape new policies and NGO programming to improve the life of people in conflict-affected societies.
To this end, we will develop a methodology to assess the impact of arts-based peace projects and their legacies. The project’s starting point is the simple notion that the nexus of aesthetic, cultural, and social engagement can be powerful and offers an ‘undercommons’ upon which to build peace. The project distinguishes between contexts of ‘war’, ‘diffuse war’, ‘transitions from war to peace’ and ‘post-war’ contexts to investigate the role that performative arts can play in each of these conflict stages. We will rely on the case studies of Syria, the Democratic Republic of Congo (DRC), Colombia and Bosnia- Herzegovina to analyse the complex interplay of the arts and war.
Comparing and contrasting these case studies in terms of where the arts are situated, who runs the arts projects and how they work best as a partner of peace formation, the project asks:
- What role can grassroots arts play in different types and stages of war?
- Based on these insights, under what conditions can the creative arts and peace formation processes be best integrated with each other?
- How can we understand the extent to which creative arts projects help external or internal norms of peace to be adopted on a broader social level, or do they highlight local norms?
The project will be run by the University of Manchester, Durham University, and In Place of War with the support of several local researchers and artists, combining insights from the field of academia with local arts practitioners on the ground. Project leads will form a partnership with local organisations and actors in each of the case countries to conduct the research and devise a toolkit for grassroots and NGO practitioners on the one hand, but also to co-produce art productions on the other. The latter include exhibitions, an audio archive, community performances and web-based content, all of which will be accessible to the communities in the countries themselves as well as to UK audiences.
To find out more:–
Ruth Daniel is CEO of In Place of War and Honorary Research Fellow in Drama at the University of Manchester
It was a complete honour to read the names of all our brilliant graduating third years last week. All seemed to go by without major mishap and I really enjoyed the way Vice Chancellor Lemn Sissay so warmly welcomed every single graduate on stage and managed to find a new and different thing to say to each person! The graduation ceremony was – as in previous years – beamed out across the web-waves, and for the first time this year, so I heard, people could watch in Virtual Reality. This was also the first year that I’ve seen tweets from students sharing audio-visual clips of their moment on stage, as Caoimhe Hale did via twitter (1137 views so far!).
I want to use this blog post to confirm the student prizes that were given to this year’s graduating third years. Before I do so, it is worth noting that for many years Drama staff debated the merits of giving prizes to individuals. We are committed to the principle of drama, theatre, performance as an ensemble-based discipline and practice, and singling out individuals seems to go against the grain. I still feel this – a bit – but after years of sitting through lists of prizes given by other departments to their students at graduation, we decided to give it a go. This is the third year that we have given prizes. It is important to say though that we are extremely proud of every graduate, prize winner or not. It has been a pleasure and a privilege to work with each and every one of this year’s graduates over the last three years.
Back to the prizes – here they are: –
The Viv Gardner Prize for Outstanding Academic Achievement went to Cath Snow, in recognition of her brilliant academic profile – the highest of the cohort.
The David Mayer Prize for Outstanding Dissertation went to Molly Stedman, in recognition of her fantastic Dissertation, entitled ‘Discourses of Empowerment in Learning Disability Theatres: A New Debate’.
The Tony Jackson Prize for Outstanding Student Citizenship went to Cara Looij, in recognition of her much valued and trusted presence as student ambassador, student rep and peer mentor over the last three years, and her co-leadership of (In)sane – a new initiative that uses live art to engage with and raise awareness of experiences of mental distress – follow (In)sane here
The Meera Syal Prize for Outstanding Practical Work – we had a hard time deciding on this one, with so much incredible practical work happening inside and outside of the curriculum this last year! In the end, we decided to split the prize three ways. Dominic Chan and Rebecca Hatch each won the prize for their beautiful solo pieces created as part of the Contemporary Theatre-Making module with Andy Smith before Christmas. The team who made ‘Fluffy Come Home’ on the Video Project with Johannes Sjoberg also won the prize – Emily Brocklehurst, Katie Howarth-Ankers, Lily Mcginn and Amy Newell. Watch ‘Fluffy Come Home’ here
Very unusually, and to their absolute credit – we also had four students who received the Dean’s Award for Achievement this year. They were: Iona Champain. Lily McGinn, Cath Snow and Molly Stedman.
Thanks to all graduates for your contributions to Drama at Manchester over the last three years. Please keep in touch – you can join our University of Manchester Drama Alumni facebook group and follow us on twitter of course, but please also do drop by and say hello whenever you are passing!
Organised by a group of students at the University of Manchester, (In)sane is an evening of fundraising on the 19th of March for Manchester’s 42nd Street, a non-profit mental health organisation for young people based in Ancoats. Taking place in Texture in the Northern Quarter, the event will be comprised of a variety of creative presentations, including original artworks, photography installations, testimonial pieces, poetry and live music. Each piece is inspired by people’s personal experiences with their own mental health, or the mental health of those close to them. This project aims to work against the statistic based, generic and often either misinformed or diluted ideas around mental health in the modern word. In this way, our testimonial approach aims to raise awareness for everyone who attends the event, and equally for those who participate. We feel that a creative platform is an ideal way to facilitate this dialogue, as allowing people to express themselves in as personal a way as possible aids positive didactic experiences for those who will likely encounter mental health issues in the future, forge kinship and work against the alienation which is often part and parcel with mental illness. We have asked our creatives to focus on, or centralise around ’hope’ to show that whilst mental illness can be incapacitating, our response to it can be truly empowering, aiming to maintain a positive outlook and to carry on in the face of such adversity.
This issue is hugely important to us all and we hope that you all come along to share in this powerful work with us, and to witness the overwhelming talent and honesty of the people involved.
Tickets cost £5 for students and £7 for adults, and can be bought at: https://www.skiddle.com/e/13144098/
The (In)sane Team
Current Drama student, Sarah Faulkner sets off to find what HOME has to offer …
Walking into the light, airy and contemporary foyer of the HOME theatre and cinema, my mission is to find out what is on offer that could tempt a student to get out of bed, the library or their local bar. It is a brisk 10 minute walk from the Manchester University campus to Tony Wilson Place, named after the creator of Factory Records and the iconic Haçienda night club, both of which defined and immortalised the Manchester music scene. When I get there, a statue of the German philosopher Friedrich Engels looks down, surrounded by modern bars, restaurants, and the smoked glass exterior of HOME. Engels published The Condition of the Working Class in England in 1845, based on observations made in Manchester. I briefly wonder what he would think of the city today.
On arrival I am greeted by Ally Davies, Engagement Assistant at HOME and as it turns out, alumnus of Manchester University’s Drama department. Ally has worked at HOME since it opened in 2015 and her job allows her to both indulge and share her love of film, working with the engagement team to deliver creative projects, courses and events, present special viewings and encourage new film makers to showcase their work. We chat about her experiences at UoM and achieving her MPhil until she reminds me what I am there for. “Tell me, Ally, what would make a student want to visit HOME?”. She takes a deep breath.
Ally starts with what there is to see. HOME specialises in contemporary theatre, film and art, including the annual Orbit festival which brings new work from theatre makers across the world to Manchester every September / October. Many bring their shows straight from the Edinburgh Fringe Festival. Another annual festival is PUSH, which showcases the best of North West talent. Held in the last two weeks of January, the festival includes performances, workshops and exhibitions. Ally tells me this, knowing that the festival coincides with the exam weeks at UoM. We both agree that a bit of fringe theatre is a great way to recharge those revision batteries. To find out what’s on throughout the year, go to: https://homemcr.org/theatre/ . Student tickets are £5.
If you love Film, HOME is the place for you. Unlike mainstream cinemas there is a great mix of new releases, classics, archive material, shorts, animation and documentary, avant garde film and television on offer. Where else could you see Three Billboards Outside Ebbing Missouri, Casablanca and The Life of Brian (with post-screening discussion) in the same week? There are international films to choose from, too. From time to time there are special film screenings with introductions and a Q&A panel made up of experts in the industry. To check out the weekly menu of amazing film, go to: https://homemcr.org/cinema/ . Student tickets are £4 before 5pm.
Art is free at HOME. Their ground floor gallery has contemporary exhibitions such as the upcoming premiere of the fiction film installation The Scar which ‘weaves together conspiracy, gangster, noir, politics, crash theory, fantasy and reality’. Wall space on the first and second floors provides an opportunity for local artists to exhibit on a smaller scale. For more on art at HOME see https://homemcr.org/art/ .
I ask Ally if HOME has anything to offer students who want to get involved in the creative industry. After half an hour I am wondering how to fit it all into this blog. In other words, whatever you are interested in there is something for you. The HOME Young Creatives community has a constant stream of opportunities and activities, and Ally’s advice is to follow @HYCmanchester on Twitter to hear about things first or sign up to the newsletter . Already in the diary is the weekly evening writing and performance workshop with Manchester’s spoken word collective, Young Identity. If you are an aspiring writer, poet or spoken word artist you can drop in, and it’s free. Participants have gone on to perform in the PUSH festival. Or you can book a free place on Show and Tell, a quarterly Saturday afternoon workshop with a group of Manchester’s creative and digital artists. There is an annual Digital Reporter Scheme that offers an 8 month programme of support and monthly training for those interested in a career in journalism. For new and aspiring film makers the quarterly film showcase Filmed Up offers the chance to submit work or apply to be part of the panel that decides which films will be shown. Ally tells me that the membership of this growing network includes students from MMU and Salford. There is more, so much more that you can get involved in, all of which can be found on HOME’s events page .
The ultimate free event of the year is naturally the University of Manchester Drama Society’s HIVE event which is being hosted in the first floor function room at HOME on Sunday 18th February. This marks a growing relationship with this amazing, thought provoking and iconic venue. Oh, and they do great food.