Tag Archives: leverhulme

Leverhulme Retreat at Hawkwood College

I recently spent a week at Hawkwood College on an ‘arts retreat’. The week formed part of a Leverhulme Scholarship I was awarded by Bristol Old Vic Ferment and was paid for by Reckitts Trust, a charity that supports artist to have ‘time to breath in’ as one of the trust so eloquently put it. 

Other than mealtimes our week was not structured- we were to spend it how we wished. As well as the other ‘Bristol Scholars’ we met musicians and spoken word artists linked to Roundhouse, a children’s author finishing his first book for adults and a gaggle of women studying ‘Japanese Embroidery’.

The setting was perfect, a little outside Stroud, ‘over looking the Severn Vale’ in its own woodland. We had the chance to walk, talk, stop and think. We climbed trees, gazed at the stars and worked our way through our own reading lists along with eclectic titles from the Hawkwood library. I particularly enjoyed the Edwardian publications: stories from ancient Rome and a history of the religions of Central and South America. It was the first chance for our group to spend real time together and the cross collaborations- from dinner table chats to practical queries and spontaneous devising sessions were really invigorating. Rachel Clerke and I are both working on projects linked to housing and continued to play the following week.

I spent the first part of the week reading- ‘Play Matters’ by Miguel Sicart is a brilliant, accessible book about play theory and I got stuck into The Negotiation of Hope by Jeremy Till an excellent essay by Jeremy Till about Transformative Consultation in housing development. Just having the space to read and respond in my own time generated a huge amount of material and allowed me to sit back and build a clear plan for a forthcoming project. Being able to sit back and allow space was the most important part of the week. I could let my thoughts float up, bubble-like and slowly move them into constellations, like the Dalai Lama might play Tetris.

By Thursday I was ready to write. I locked myself away in a small room overlooking a garden and let text flow. I hadn’t planned to write necessarily, but the urge took me and I spent hours composing a monologue about the right to play, through the eyes of Arnold Binns- an old friend who will one day form the basis of a show. I would not have written that piece had I not had the time and space afforded by Hawkwood. Emails would have got in the way, or funding applications. Sales and meetings would have distracted me away from creativity. I Often reflect on the lack of space I allow myself to play and to be creative. I ‘make’ play activities and create platforms to encourage others to play but still find myself caught up in the angst of ‘making work’. I left the retreat floating- Emma- our producer- told my wife that it was the first time that she had ever seen me relaxed, yet within a week I was full of stress. In a sense, that was the most helpful thing, because I was able to see how quickly ‘tasks’ had filled me up and subsequently could let them go again. A friend of mine once told me- ‘theres no point in getting stressed- it doesn’t make anything happen any quicker’ but it’s easy to forget that. A week at Hawkwood and a subsequent week back home really helped me remember again. I think I will engrave it on my bureau, along with the full quote from the Reckitts chap “People always want what an artist breaths out, but they forget that to breath out, an artist must also breath in”. Thanks Leverhulme, Hawkwood, Bristol Ferment and Reckkits for allowing me to do just that.

 

Heritage workshop

I have been working with Bristol Old Vic to devise outreach workshops engaging groups with the theatre’s history. The work is part of a Heritage Lottery Funded programme. We have started by prototyping workshops with family centres that are within walking distance and today we ran a session with St Paul’s Family Centre. The workshop was aimed at pre school (under 4) and their parents.

We wanted to engage people with the heritage of Bristol Old Vic so we wanted to play with the concept of Theatre- both as a building and a format- and history. History is particularly tricky with such young children as time is such an abstract concept. Essentially we played with ‘the olden days’ and ‘theatre’.

We used a variety of play tools and theatre practice in the workshop including role playing, imaginative play, loose parts within a context, craft, dressing up and investigating unusual objects.

We were fortunate to have been able to raid the BOV prop-store and started by inviting the children and parents to investigate and play with objects including an old fashioned phone, bones, candles, a toy trumpet and bellows. This allowed us to think about what the objects were or could be and how they relate to objects today. The phone was a big hit. The bellows proved fun as a movable contraption, also feeling the air. A father talked to us about the bellows he used as a child in Somalia- the size and shape of them and remarked that he hadn’t seen bellows for 27 years! He is going to Somalia soon and has offered to bring some back to the children’s centre so they can use them at the fire pit. It was a wonderful unexpected link into someone’s personal history. The toy trumpet and the telescope were utilised a lot and some children used all their senses to explore the objects. On our next visit we may explore the objects further and leading into stories inspired by them.

We played with the notions of a theatre set and costumes by creating environments with our bodies- the ocean today and then exploring a theatre model box. Using wooden blocks we created our own ‘theatre sets’ including a cafe, a mountain and a volcano!

We made tall hats to wear to the theatre and went on a walk to the Vic, being careful not to step in horse poo along the way! Once ‘inside the theatre’ we distributed tickets, bought sweets (and cockles and pigs trotters!); chose our seats and took turns on the stage. We had animal impressionists, singers, an orchestra, performing horses and dogs, string people and balancers. Great acts, and a brilliant reflection of the Bristol Old Vic programme in 1770! We all enjoyed giving rounds of applause, next time we might do some booing too!

It was reassuring to find that by using playwork and devised theatre tools in a specific context (in this case heritage) worked really well. The different context allowed excitement and wow factor and the embedded interactivity of the methods, plus the fluidity of exercises meant that we could respond quickly to individual needs while also holding the whole group. Next time we’re going to create more ‘stations’ to play in and enjoy revisiting the now familiar objects and format to deepen the exploration in ‘Ye Olde Vic’

Pictures to come soon…..

Pirate Playscapes

I ran the playscape workshop again recently, with our adopted families group. The sessions are always drop in and participants will come and go. The activities are designed for children and adults to do together whether that is parents and children, or prospective adopters who are volunteering at the sessions.

I stuck with the maritime theme again and focused more on pirates and pirate stories. We started small, making boats, eye patches and a desert island. We also played with maps and through about places you might find in a pirate story. Shipwreck was my favourite new addition!

Starting small allowed us to contain the exercise and allow our imaginations to roam in a contained space. Quite quickly we took the boats on an adventure and began to explore the outdoor space through the eyes of the boats. A bottle appeared and we wrote a message for it. Pirate R wanted palm trees so a request was put in the bottle, a stash place for the trees outlined and the bottle hung where passers by might find it.

As the number of participants grew, and the sun came out, we moved outdoors to build a pirate ship in the playground. As with earlier exercises we adapted the built play-space with scrap to make something new. Children identified an area with upright logs and we set-to creating a ship. Using tubes and sheeting we made the sails, we decorated the masts and people made a mask and a really brilliant hammock. One child made a telescope with stand, another noticed we had no wheel so arranged steering, we even had a treasure hold.

Once we focused on making the ship, all kinds of play evolved from the central space. Climbing, sailing, more messages in bottles, building, tying, swinging on hammock, lookout games, searching for new look outs, treasure burying and map making, different kinds of seascapes: a 2D one on the ground giving different perspective. The musicians came out too and we sang sea shanties on the ship. It was fascinating to see how easily so many different styles of play came out of the one space with just a few simple starting points. I also enjoyed the fact that things didn’t have to fit, size and perspective was irrelevant and the space shifted and changed to accommodate all the games and play.

 

Initial suggestions to built a world at the outset were really useful: pirate names, boats, places, modes of travel and communication, after that that the evolution felt quite free and natural. Having a starting point tool kit is useful and enough materials then to build a wide variety of landscapes and props. Built levels in the playground were useful, as opposed to a blank space.

I would like to try this as a durational piece next over a day or a weekend. I’d like to try to keep track of what was suggested by adults and children and what was suggested by me initially.

 

Developing ideas around play

I’m Malcolm of Mufti Games and I’ve created this blog to document observations and thinking I am doing around play.

I am currently a Leverhulme Art Scholar attached to Bristol Old Vic Ferment and I am concentrating on developing my practice around play in theatre and heritage settings. I’ll be writing about shows, events, exhibitions and everyday happenings that I see valuable to the play community. I’ll also note down musings I have about the state of play in our current climate.

I hope you enjoy what you read, please feel free to start a conversation below or get in touch with me directly.