A weekend of measuring, chatting and
Over the weekend of Saturday 30th
and Sunday 31st of March, ‘The Hidden Project’ saw almost 170 people
(and Rolo the dog) come forward to be measured and photographed for a chance to
be cast in Red Saunders’ ‘Hidden Project’ here in Derby.
Saturday was an early start at the Silk
Mill! Armed with cameras, tape measures, biscuits and a lot of enthusiasm, project
volunteers arrived at 9am ready to greet Derby’s hopeful candidates. Abby,
Lauren and Rico -Media Students from the University of Derby - took all the
casting photographs over the weekend and worked solidly over the two days.
Andy, Ruth and Emma were always around to provide a warm welcome, whilst Laura,
Alice, Rebecca and I stepped outside our comfort zone, grabbed a measuring tape
and took on the task of taking people’s measurements. Thanks to the brilliant tutelage
of Tim Heywood from Derby Theatre, we soon got into the swing of things. As Alice
commented ‘It is not often you spend a Saturday afternoon running a measuring
tape round perfect strangers without someone asking questions about your behaviour…!’.
Thankfully, all the people we measured were brilliant and accommodating – thank
We had a meeting last week of the Cwm Taf Public Engagement Group (PEG), soon to become the Information, Communication and Engagement Group (ICE).
We reviewed recent engagement on behalf of the Cwm Taf Public Service Board and the Wellbeing Plan. It is a duty on all public services to evidence the 5 ways of working - including involvement - in everything they do, not just when they are writing plans together. Few people seem to know this, including those employed in public services. So if staff whose job it is to implement the Act, don’t know much about it or what it means, how will things start to change?
Is this the big test? How will the work and plans of Council’s, heath boards, police, fires services, etc start to be more longer-term, more preventative, be more integrated and collaborative? And for our PEG / ICE group, how will they better involve people and communities in working together and who is going to hold them to account?
Everyone is on Board, but we have a long way to go to having ongoing meaningful conversations with people about the decisions we make. We talk about public services being like an oil tanker, and the people who run them have been successful at getting oil out of the ground, getting it on the ship and to people’s cars and homes. But the world has changed, it is in trouble, and we need less oil and new more sustainable solutions for people and planet. The big threats include climate change, austerity, poverty and wellbeing. The job has changed, but we are still trying to use oil to solve it and time is running out.
I am not that worried yet about getting to the right place, but hoping we can start to realise the problem has change. I am hoping all of us are honest and brave enough to take the small steps to start our journey. I think that journey starts with us all sitting around the table and having meaningful conversations - people, communities, businesses and people who work in public services - and not just the planners, but people on the front line delivering our valued public services.
German-Turkish Co-Production Development Fund marks its 10th edition
due before September 15th, 2020
international co-production and networking platform “Meetings on the Bridge” (MoB) organized within the scope of the Istanbul Film Festival, just announced
the opening of the 10th
edition of the German-Turkish Co-Production
Development Fund, a joint initiative with Medienboard Berlin-Brandenburg and Filmförderung Hamburg Schleswig-Holstein, and with the support of
the Republic of Turkey Ministry of
Culture and Tourism. The fund aims at facilitating cooperation between
filmmakers from Germany and Turkey in the early stages of their projects.
are in the development stage of their German-Turkish co-production projects are
invited to apply before September 15th,
shall be made simultaneously to all three institutions via e-mail and by
sending a hard copy in parallel. As per the organizers, supported projects will
be announced in October.
Choreographic Objects: a blog by volunteer Sam Metz
I undertook a short residency as an artist at Derby Museums within their World Cultures Gallery, platformed by Divine Locale a curatorial group supporting emerging artists and graduates formed by Derby University graduates Jade Foster and Jennifer Birch and steered by current Derby University Fine Art students.
I was conscious in undertaking the work that I have a few positions to be transparent about; I am a white artist for whom working in a world cultures gallery should be done with an undertaking of an examination of white privilege. I am also someone who is actively engaged in community work and education within museums and galleries, having worked as a programmer, artist and educator in many galleries and museums in the East Midlands. I am passionate about the notion of co-production, particularly in relation to building collections and exhibitions. I am particularly passionate about Derby Museums inclusion of human centred design in the way they curate their collections – utilising process led approaches that create spaces with a lack of fixity in meaning – so that new visitors and communities can add their stories and interpretation.
With this in mind and with an idea that the emerging interpretation in the world cultures gallery was evolving and could be informed by mine and the other artists explorations – I decided I wanted to make my work ‘small’ and by this I mean, have limited traces in the gallery itself. The stories in the gallery space speak of colonialism, theft, occupation – the crimes of white people. I felt that my white voice was unnecessary in that narrative. I am more interested in the stories of objects of the world being told by diverse communities.
I have been working with groups of young people with autism and learning difficulties to create non-verbal interpretation of exhibition content for some years now. This has often involved creating movement (dancing, touching, sniffing, tasting) in the gallery space in response to artworks and artefacts and then translating those physical responses back in the studio/ atelier space through making and experimentation and diverse artistic practice that interplays with the exhibition themes – from film and animation to assemblage. I have worked with young people to create alternative conversations with artworks that form interpretation that doesn’t privilege verbal and visual responses – I have been active in this work as a way of highlighting difference and to destabilize the prioritization of neurotypical interpretation over autistic sensorial interpretation and response, suggesting alternative conversations that can be had. I have been inspired by somatics and dance as a vehicle for unorthodox embodied interpretation.
I have been working on the idea of choreographic objects as an individual practitioner and as a socially engaged artist. This involves using the provocation of dance artist, choreographer and theorist Deborah Hay – of ‘Let my body be my leader’ as an impetus for narrating an interaction with an object. Quite simply through visual empathy and an understanding of the form, weight, shape and line of an object I allow my body to be inspired and to move. My body catalogues the feeling of an imagined touch of the object – it recreates the muscular sensation of touching, it translates it and stores the memory of the object. My body becomes an archive or a repository for the encounter. In performance I relate the aesthetic understanding I have of an object. In other project works I then create notation of my encounter through drawing and animation which creates a score for a movement motif. I was clear that this time it was important for me to not make physical works that left a trace in the gallery – and instead my body would be the sole ‘interpreter’.
A dialogue across objects
A suggested connection
A deviation from the plane
An imagined moment
A pushing from static to fluid
Touch and repel
Conversations across space
Through imagined connections
In the World Cultures Gallery I worked with three objects. I always think that good curation involves objects having dialogue across a space. I was interested in the shape and form of three sets of objects – a ceremonial axe handle from Trobriand Islands, Pacific Ocean, a pair of unprovenanced figures and the skull of an elephant, Gabon, Africa. These objects were in different displays but created a sight line and section across the gallery. I created a sequence of movements that documented the way I viewed the objects, the way they made me feel physically. I created a motif of movements that documented this visual and physical engagement I had with the objects – from looking and walking around them. My dance didn’t interpret their histories or provenance or my understanding of their journey to the museum.
Was that ok? I’m really not sure – my desire was to move away from the mythic connections I may have to working with an elephant’s skull. An animal I know from stories and representation and not one I encounter in my wildlife. I was interested in what happened when I thought and I examined how my body responded to the lines and smoothness of this large object – rather than how my body exoticised and romanticised my idea of it. It feels like there is something democratic about having an embodied interaction with a work – but of course that isn’t wholly true as we all have different bodies.
I was interested in how the axe head deviated from the plane of the back of the vitrine, a curve I could recreate in my back side and legs. I was interested in the proxemic relation of my body and the skull, how I could walk around it and how it created spirals in my body. I was interested in how the two figures had bellies that if you moved them closer could be touching. I taped off a small square in the gallery and I performed each part of the motif, knitting together the embodied interactions into a short performance piece.
Many thanks to Divine Locale and Andrea Hadley–Johnson. Head of Co-production Display for the time and space for Research and Development
A guest blog by coproduction volunteer Stephen Hill.
Travels and learning through World Cultures Collection research
Having stepped away from the 9-to-5, I was looking for something different, or dare I say interesting, to tackle when I was introduced to Derby Museums volunteering and the fascinating World Cultures Collection. After dipping a toe in a co-production sharing day, I decided to take the next step and help to research some of the objects, aiming to gather information to assist with interpreting the new gallery. Little did I realise what a wonderful journey, both geographical and learning, this research would take me on.
I was looking for a theme to share some of this journey with and having been a materials scientist, I thought materials would be great vehicle. So here are the travels and fascinating facts to emerge from my research around 3 wooden objects.
Imagine my surprise on opening the picture file to find this striking gent staring back at me. The collection description stated “wooden head from a bayonet practice dummy”. Where would this take me and where could I find more information? A little judicious internet searching turned up a few good leads, which began a journey around Europe. This gent, or the mobile dummy to which he was attached, was nicknamed ‘Brother Boche’ and was the invention of a British Army physical training instructor. His aim was to improve the soldier training of the men volunteering in the later years of WW1 – but more of that later.
I wanted to know more about the bayonet as a weapon, which is where the tour of Europe began. The bayonet is thought to have originated in Spain as a hunting weapon, before being translated into the military arena by the French Army in the early- to mid-17th century. The bayonet made a useful addition to the available weapons at this time, when the slow rate of fire of firearms meant a charging enemy could engage in hand-to-hand combat.
However, by WW1 entrenched warfare in the fields of France and Belgium, weapons development and the mechanisation of warfare had rendered the bayonet ineffective; particularly in close-quarter fighting, where the soldier was turning to other weapons, even sharpened trenching shovels. There are views that suggest a long rifle with bayonet was a liability, citing occasions where an incautious soldier would allow the bayonet to protrude above the top of the trench giving away his position to enemy snipers, with fatal consequences.
So, you may ask why did the British Army persist with bayonet training and even go to the effort of developing new methods, such as the dummy to which this head was attached, in the later years of the war. Well, the view is the British Army’s use of the bayonet throughout WW1 was in part due to the weapon emphasising the masculinity of the soldier who could utilise it effectively.
To this end, bayonet training was always a major element of infantry drill; with new recruits spending considerable time learning and practicing ‘standard’ techniques. As WW1 progressed, soldiers became aware of the ‘standard’ bayonet fighting techniques and developed effective counters, further reducing the value and effectiveness of the weapon. It can be assumed the mobile training dummy was developed to give the new soldier better bayonet fighting skills, such that he would feel prepared and ready for battle.
Having had my appetite whetted by this item, I was interested, even excited, to see what would be next, where itwould take me and what I would learn.
Paxton Green Time Bank (PGTB) was set up by a local health centre back in 2008, to encourage patients to feel able to join in with community life and make valuable positive contributions to their own and other peoples positive mental health and well being.
We are now an independent charity, coproducing community wellbeing, creativity and practical help and learning with by and for local people.
We believe people are assets and are very excited to be coproducing a Black History Monthproject this year with a fabulous team of dedicated creative timebankers, including musicians, artists and theatre practitioners coming together to explore themes of Living the legacy: Honouring the first generation of migrants from the Caribbean and Africa. We will be using a variety of mediums to discuss and celebrate ideas around this theme, culminating in a performance event, all under the banner of ‘ The Ships Looked Like Mountains’.
To select the co-production markets that will award
the Eurimages Co-production Development Awards from 2021 and for a period of
three years, the Eurimages Board of Management has launched a new call for
According to their statement, all proposals must be
submitted by e-mail to firstname.lastname@example.org no later than June 15th,
2020. Until May 22nd, 2020 the Eurimages team is prepared to answer
any questions sent to the same e-mail address.
The results of the call are to be announced on October
Prix Eurimages au Développement de la Coproduction
Appel à propositions ouvert
Pour sélectionner les marchés de coproduction qui décerneront
le Prix Eurimages au Développement de la Coproduction dès 2021 et pour une
période de trois ans, le comité de direction d’Eurimages a publié un nouveau
appel à propositions.
Selon l’organisation, toutes propositions doivent être soumises
par courrier électronique à l’adresse email@example.com
au plus tard le 15 juin 2020. Jusqu’au 22 mai 2020, l’équipe d’Eurimages est prête
à répondre à toute question envoyée à la même adresse électronique.
Les résultats de l’appel seront
communiqués le 21 octobre 2020.
My YouTube channel has no subscribers. But I will probably have a chance - I have an idea for a video that will be co-produced by fellow YT friends that I have. But it will take some time before it comes into fruition.
For now - I will be posting more stuff on and on, but will take a long break - 3 days worth.
For next summer - I wish to get a GoPro cam, and also continuing on some Epic Drives. and Rare Car Passbys.
Dancenet Sweden is launching a new model for co-production between its various partners in Sweden and is now seeking an artistic idea from you, a choreographer or constellation/group, to develop in dialogue with Dancenet Sweden. The production period is spring/summer 2015, with the tour set for autumn 2015, hitting 12 Dancenet partners. You are welcome to send in your proposal between Dec 1, 2013 and Jan 15, 2014.
Le Festival des Arcs, et Champs-Élysées Film Festival, lancent Paris Coproduction Village les 12 et 13 juin 2014
PARIS COPRODUCTION VILLAGE est une nouvelle plateforme de développement et de financement pour des projets de longs métrages sélectionnés à travers le monde. Organisé par le Festival de Cinéma Européen des Arcs et Champs-Élysées Film Festival, cet événement a pour objectif d’encourager les professionnels de l’industrie cinématographique européenne à s’investir dans des coproductions internationales.
Director Gore Verbinksi’s A Cure for Wellness will immediately draw comparisons to Shutter Island (Martin Scorsese, 2010), a film that is also primarily set at a strange and possibly haunted medical facility, with a similarly creepy atmosphere and enigmatic plot. But despite the apparent resemblance, Shutter Island is a far superior film in every respect. A Cure for Wellnessstars Dane DeHaan as…
ABC News Inks Co-Production Deal With Social Video Startup ATTN:
7:00 AM PDT 7/25/2017
The two companies are planning to co-produce at least 10 video segments for digital distribution.
ABC News is moving into digital video through a new co-production deal with digital media startup ATTN:.
Under the agreement, the two companies will co-produce at least 10 original video segments for distribution across their Facebook, Instagram and Twitter accounts, ATTN: co-founder and editor in chief Matthew Segal tells The Hollywood Reporter. In addition, Segal will join ABC News as a contributor.
The videos will include guest interviews, features and investigative stories that draw on ABC’s roster of anchors and correspondents, as well as footage from existing news brands including Good Morning America, World News Tonight and Nightline.
Segal says he is looking forward to “leveraging many of the great resources, the international bureaus, the excellent reporting and talent of ABC News and incorporating it into our style at best practices.”
ATTN: launched in 2014 as a production house for issues-based video clips that would be distributed online. It now counts Facebook as a primary distribution channel for its short videos on topics such as birth control, the minimum wage and mental health. Now, ABC News will leverage the expertise that ATTN: has developed in the social video space. “Great journalism resonates with audiences across all platforms,” Colby Smith, vp ABC News Digital, said in a statement. “Partnering with ATTN: allows us to experiment even further with new formats. We will take compelling stories and interviews and craft them in a way that feels organic to our digital platforms.”
ATTN:, meanwhile, has been looking for ways to expand its storytelling to new platforms. Earlier this year, it launched interview series Paying Attention on YouTube, but Segal calls television “the next frontier” for the company. The hope is that some of these segments with ABC News could also find linear distribution.
Social Value Network - come and take part on the 5th October from 1.00pm at Ty Dysgu, Nantgarw
So what is Social Value? Well … in the Act and our Cwm Taf Social Value group Terms of Reference it is …
‘The additional benefit to the community from a commissioning/procurement process over and above the direct purchasing of goods, services and outcomes.’
For us in Cwm Taf is it is also … .
Building Community Capacity for Wellbeing
‘Activities, resources and support that strengthen the skills, abilities and confidence of people and community groups to take effective action and leading roles in improving wellbeing of communities.’
It means working together and involving people … producing things that have value in the community together . . aka - coproduction!
This is about doing things together as equals from start to finish making use of everyone’s strengths. Take a look at this easy read version … .
Looking forward to discussing all this with anyone who wants to - join interlink and VAMT and lots of others - everyone is welcome from all parts of the community and public sector in Cwm Taf on the 5th October.
To book email firstname.lastname@example.org, or if you want to know more, give me a bell on 01443 846200 :) 😃
Today I have listened to volunteers providing community support in a clothes bank in Cardiff (through ACE); older people in Leeds providing community support in community hubs (R4 podcast ‘Charity Business’) and grandmothers being trained and providing evidenced based talking therapies in Africa (TED talk 'Why I train grandmothers to treat depression’).
They all have in common what amazing things happen when the community help themselves, and what we can achieve if the community has the support of third sector and public services. This is about being a facilitator of action not a service provider, building community support not dictating what it does.
We can do amazing things together, leadership is being an agent of change, an advocate for community action, just like ACE; just like the psychiatrist in Africa, just like the Commissioner in Leeds City Council.
The House Project - Care Leavers Owning Their Futures
The House Project takes a ground-breaking approach to enabling young
people leaving care to achieve successful independence. We want them to
own their own futures.
Each House Project is a small, local business, co-constructed with
young people themselves to maximise their ownership. The young people,
with adult support, learn to project manage the refurbishment of void
properties which become their homes.
Following a successful
pilot in Stoke-on-Trent, the project has gained funding to set up a
National House Project Hub to franchise the model and five new local
A third of care leavers
experience homelessness between 6-24 months after leaving care. By doing
it differently, the pilot had a 90% success rate for tenancy stability
and a transformative effect on young people’s life chances.
film shows how a young man, who had lived in residential care and
become homeless, was able to find a new home and new hope through the
In December the team set the brief for the 2nd and 3rd year University of Derby Product Design students to research, design and prototype the coffee tables that will sit in the retail and third floor dwell spaces, as well as the tables for the Civic Hall café. Both packages of furniture will be produced within the workshop at the Museum of Making and will express the story of the museum and embody the spirit of making.
‘History is an inspiration to me personally, because it is stories, and being a filmmaker is being a storyteller’
Luke Taylor- Make Works Derby and Derbyshire Volunteer
I had the impression that volunteering for Make Works Derby
and Derbyshirewould give me invaluable experience working to a real client
brief, and allow me to develop my interpersonal skills in a diverse
environment. This, in fact, is what I wrote in my application that I hoped I
would gain, but it is only some of what I got from the experience. The
experience of working with a renowned filmmaker was, at every stage,
fascinating. I learnt about industry techniques, collaboration, and scheduling
around other study commitments.
I have personal reasons as to why I wanted to be part of
Make Works and why this opportunity was pertinent to me. Almost four decades
ago, my mum first came to Derby for its Art College. She studied Textile
design, going on to live here for 10 years. This doubtlessly had an unconscious
impact on my choice for Derby as my place of study, since having this
connection to her is important to me. Derby is where my mum met her life long
friend Cic, who is still in Derby doing textile design. They made a contribution
to the cities culture, which is what I wanted to do.
History is an inspiration to me personally, because it is
stories, and being a filmmaker is being a storyteller.
I attended the Green Door Printmaking Studio, an
‘environmentally friendly, open access printmaking community offering
print-based fine art workshops and facilities.’ This was my favorite filming
visit because the subject matter was diverse and colorful.
Louise West Lace Making was the other filming visit I
attended. Louise had knowledge about her area that made for interesting
conversation and in turn great material for the film.
As a film production student at the University of Derby I do
a lot of work making independent short films. I’m also a Videographer for a
marketing company in Nottingham. I try to broaden my experience in every
direction, so having this different perspective on working to a client brief
was valuable. Being out in these live filming environments is fast paced, but
there is always help there when you need it: Help setting up in tight spots,
suggestions for angles when you’re stuck for ideas, and to build trust with the
I wasn’t sure what filming would be like. I had only
recently started first year when I applied to the museum and I was still
inexperienced, but I was coached through every stage of filming in the months
leading to the visit. We practiced building and breaking down the kit, lighting
a subject, interviewing and being interviewed, so that when we went on location
we knew what to do, with only minor tailoring needed. The skills I learned from
filming Make Works I took into projects at University, and the skills I learned
at University gave a solid foundation of understanding for Make Works. Having
these run parallel gave me an outlet to practice and to learn.
I’ve also learnt that there are a lot of independent makers
in derby, none of which were previously in my sphere of awareness. This has
been an opportunity to expand their reach, to promote creativity in the local
environment. Anything I can do to boost the creative sector which I am a part
of is a great achievement, and it’s something I am proud of.
For me as a filmmaker the most beneficial element of the
filming visits was great variety in experience. For example, learning the
processes for location shooting, sound recording, then editing to a brief. It
was a holistic journey in which I was supported at every stage and which I
learned much about filmmaking.
I would recommend this for any first year student in the
visual arts looking to gain experience alongside their course.
Blog written by fantastic Co-production Make Works Volunteer Film-Maker - Luke Taylor