AspireBalkans – MISIM ZNAŠ, TAJ RAD; BRATE!

Greetings to the AspireBalkans blog, a one shop blog spot with information, offers, proposals, hunches and ideas about our forthcoming arts and creative education programmes across the Balkans. We’ve been working in Serbia since 2010, are building relationships in Macedonia, and looking forward to making new friends and colleagues in Bosnia, Croatia, Montenegro, Kosovo, Albania, Slovenia and across the region in the years to come.

Our work in Obrenovac, Serbia started here:

https://drnicko.wordpress.com/2011/08/29/poetry-on-the-serbian-hoof/

And carries on here:

http://pascotd.weebly.com/index.html

Watch this space for further action!

Aspire Trust е организација за уметност од Велика Британија, посветена на трансформирање на животните приказни на луѓето на креативен начин.

Aspire Trust е организација за уметност од Велика Британија, посветена на трансформирање на животните приказни на луѓето на креативен начин. Ни причинува задоволство да објавиме дека после неодамнешните значителни инвестиции од Советот за уметност на Англија, во моментов планираме да го создадеме „Скапоцени“: врвен културен и образовен настан во англиканската катедрала во Ливерпул, во октомври 2012 година.

„Скапоцени“ ќе претставува инспиративна, мултимедијална театарска продукција со висок квалитет, направена врз основа на приказните од Титаник. Настанот ќе вклучува продукција на настани во живо, медиумски, дигитални и образовни настани, и општествени настани низ Велика Британија и во светот, и ќе се одржи првата недела во октомври 2012-та година.

Продукцијата ќе опфати приказни, филмски снимки, звучни пејзажи, изворна музика и театар во живо, со цел да се оживее патувањето на Титаник и да се истражат приказните на луѓето погодени од трагедијата. Поставена во навистина импресивната театарска сцена на англиканската катедрала, продукцијата ќе биде едно од највизионерските и неодоливите театарски искуства на годината.

Ние развиваме врвна стратегија за интернет-технологија и технологија на игри („Digi-Treasured“) којашто гарантира изненадувачка, иновациска и врвна форма на развој на публиката и нејзино учество, какви што нема во светот. Digi-Treasured ќе им овозможи на потенцијалните учесници да нурнат не само во продукцијата, туку и да учествуваат заедно со уметниците и публиката пред, за време на настанот и по самиот настан, преку уред за виртуелна реалност на интернет. Ова ќе биде од посебен интерес за луѓето кои не се во состојба да присуствуваат на самиот настан поради географските или временските разлики.

Во потрага сме по 12 (дванаесет) меѓународни партнери коишто се заинтересирани за можноста да работат заедно. Партнери може да бидат невладини организации, организации за уметност, училишта, претпријатија за информатичка и комуникациска технологија од приватниот сектор, универзитети: секој што е заинтересиран да учествува виртуелно во еден од најголемите настани за јавен настап во Велика Британија годинава.

A Waiting Story: Little Red Riding Hood in the Macedonian Forest

In the time before Red Riding Hood got betrayed by a Wolf in Grandma’s clothing, the young girl would quiz her elderly relative about her habits and whereabouts. Some would say that this was the cause of her early demise but others dispute this telling of the fable.

Why do you cook toffee apples granny? Why is your house made of gingerbread? Why do you go walking in a forest? Is it for the peace and quiet?
Hardly, dear, you can hear trains and cars and city bustle. A call to prayers from a nearby mosque sounds like a wolf weeping but that’s no reason to walk in the forest.

Is it for the Fresh air and invigorating atmosphere?
Upto a point my dear: until the logging trucks drive by and the fumes wash over as you sit by the roadside, slightly blackened from the sooty deposits. So that’s no reason to walk in the forest.

Is it for exercise and maintaining a healthy body?
That may be fine dear, as long as you haven’t got knees which give you grief and buckle every step of the way. That’s no reason to walk in the forest.

Do you commune with nature, then? asked Little riding Hood impatiently. Or perhaps even yourself?

If you stood still long enough, it might be possible to commune with anything, but to walk in the forest you have to keep on walking: stumbling cursing sweating breathing so much, there’s not a lot of communing to be done. That’s no reason to walk in the forest.

Is it to get around the next corner then? asked Little Red Riding Hood sarcastically.

Ah, smiled her elderley relative, that is an answer. There’s always another next corner, another bend to get around, a hillock to navigate, there’s just another view to catch before you turn around and do the same journey but in reverse order.

So that’s why you go for a walk in the forest, Granny? she asked with a faux impression of relief.

Yes, my dear, that’s the reason to walk in the forest: to retrace your steps. I walk in the forest in order to go around in circles.

And enough of the prying questions! True to her word, Little Red Riding Hood’s grandmother – who had her own genetic stock of impatience – stepped back, sprung the latch from the pantry and out leapt a huge brown wolf, scantily dressed in grandma’s clothing who proceeded to devour her then and there, lock stock and barrel. And that, dear reader, was the end of Little Red Riding Hood and her inquisitive questions.

Looking out of the window is more than just looking out of the window

In the railway carriage, you see everything pass you by through the windows -trees skylines funny little matchstick wind farm figures – perhaps even the faces of your wife kids and family traversing the windscreen in slow motion but passing you by nevertheless.

The windows are like oversize 35mm film frames which shape the action, provide depth and layers and tell flowing endless stories. The clouds remain a constant but everything else enters screen right and leaves screen left – those things closest to you enter and leave the screen the quickest.

You can hold your gaze on the things in the mid distance just long enough to recognise and name them but they too eventually pass by in good speed. Here come the synchronous smoke stacks all inverted smoky beard smearing into the lower atmosphere.

The stuff next to the window is just that – stuff, Indiscernible, unrecognisable, immaterial stuff.  The very near stuff – other people that are on your side of the glass pane are fixed in the screen along with yourself.

This isn’t just looking out the window – this is looking through the window frame out the window – with the consequent cinematic urgency propelling the narratives along at a relentless pace. Until at least we stop or until it gets dark and all you can see are the static stories of your and others reflections. Film has turned back to photography – and back again when light outside sheds some light on proceedings. The light outside generates film again and we metamorphose to silhouettes in the windscreen again.

Does your school need an international cultural attache? Here’s how…

Could your school benefit from international links with teachers, pupils and families? Are you interested in exploring some unique professional development opportunities with teachers and other educators on the other side of the world?

Over the last two years, the Aspire Trust has organised international conferences for Principals and Head teachers from India, Nigeria and the UAE to visit UK schools. We ran the All Our Futures conference in Liverpool and Wallasey this summer for Indian, Nigerian and other international head teachers and educators. The success of that and similar events has led me to being invited by the University of Tasmania with a view to establishing a similar event there in either 2012 or 2013. The first step in that process will be between 25 November and 13 December this year when I will travel there to make initial contacts with the University and schools across Tasmania.

If you would like me to represent your school with a view to establishing some active, realistic links then I am able to offer you a number of services:

1. Taking promotional material to schools in Tasmania, complete with contact details, so that schools could contact you directly. I will be doing this for 12 English schools so your information would be viewed in this context. I would take 10 copies of your promotional pack which should be no more than 2 sides of A4 paper and one CD / DVD. Materials should be clearly labeled and packaged.

2. or, I could take a more active role in promoting your school by coming to see you, developing an action plan with you, and taking a more proactive role in promoting your school to the schools I visit. In this option, you could supply me with additional promotional material and I would aim to identify a specific named partner school for you as a result of the trip. As this option would require a heavier investment from me in my time promoting your school, I would be looking for a sponsorship from you of £300 towards the costs of my time in this promotional activity. On my return to the UK, I would then revisit your school with an activity report which would specify who I had met, details of your potential partner school(s) and other information as specified in the action plan.

If this is of interest to you, please feel free to get in touch with me at nowen.aspire@btconnect.com

Flow: prayer for a provisional ending

As life begins
The circle of evolution continues
Life flows through my body
like the wind blows through nature.

Flowing beside the city
Beside the river
Down by the docks
Along the far side of the port,

My words and stories evolve into thoughts and memories
and through these
my world becomes a performance.

A place where the boats fill up
The seagulls fly straight
And the passengers look out
To a place and time

Where my imagination flows
My humanity becomes a performance
Where possibilities begin
And end and begin again.

The tide surges
It falls back
The salmon are left on the shoreline
Waiting for the signals

To call them back
To the ocean
And back to the stream
They left in their youth.

But will the flow ever end?

Composed with Emily Frodsham on the morning of the death of Steve Jobs, as part of the final performance of the Flow Community Arts Autumn School, Sigdal, Norway.

Geoff Pennycook, in memoriam.

Uganda, day 3: searching for authenticity

2008-06-11 13.06.14The endeavour in Kampala is very noticeable: seemingly chaotic but more a sense of heightened hustle and bustle without the tension which was in the streets and newspapers of Nairobi. White lines on the road from the airport was a good start, although the majority of them are pit-holed, roughened up and shot to pieces. You can see why you need an off roader here as the roads themselves are more off road than on road, what with the melted, rippled and solidified tarmac at their sides, the flaking away into the earth and the general chronic wear and tear.

There ain’t nothing as authentic as your memories. We are looking for authentic matoke which has to be cooked properly (a la memory) and added to the right sauce. It’s comforting that the hotel is flanked by armed guards but talk on the TV of the Sudanese seeing the interventions of the LRA as an act of war is not so comforting. This will be a week of searching for authenticity and it might end in tears.

2008-06-11 12.36.57Day 4
The search for authenticity continues. Distances walked from home to school once seemed huge and never ending; when older they’re seen / they see us as short as from here to the next corner. The memory has been shrunk wrapped so that the journey is now no more than couple of blocks. Likewise, the house which at once seemed so large with innumerable rooms and possibilities is now no more than a modest shack in a compound with its crumbling walls and washed public spaces in which children play with meagre resources but ample imagination.

2008-06-11 15.15.48Day 5

It’s only memory that allows for spaces, possibility and heightened sensual experience. The revisit, the return, shrink wraps and diminishes. At best the terrors of the memory are perhaps lessened, made mundane and domesticated by the revisit and the horror can metamorphose into the ridiculous and the pathetic: at worst, the revisit causes the joys of the memory to be likewise sanitised, and recast into a new perspective which holds less import, moment or potential.

2008-06-11 15.54.50Day 6
We have spent many hours wandering in and out of I remembers and walking down memory lanes, putting bits of memory together. Confusion sets in once in a while when I remember those trees turns into those trees remember me and I’m left wondering whether spaces and places miss and yearn for us as much as we miss and yearn for them. Ironically, the search for authenticity when it gets close, results in a temporary emotional choking up, a temporary amnesia which means we forget more or less everything about that memory and the drive to authenticity that that memory induced.

And we speak of memory as if it is an intact entity, boundaried and discreet: perhaps a memory is more of a composite of senses, reflections, images, sounds, tastes and smells which coalesce occasionally to produce “a memory”.

2008-06-11 12.37.19Day 7
Capturing memory has been like trying to step into the same stretch of river twice. The river keeps flowing, nothing stays the same despite the appearance of the river bank, undergrowth and other assorted peripherania.

Things have flown away, the waters have traversed the ground carrying assorted flotsam and jetsam it collects, is donated or mysteriously acquires through some kind of adjacent leakage. The river keeps flowing, trying to capture and fix the memories is in vain, it’s all in vain…. as the children in the orphanage sang earlier this week.

2008-06-11 15.34.05

The knowledge of the car driver: Number 5 in an the series: Knowledge, traffic and arts based research.

The knowledge of the car driver is perhaps the most complete form of knowledge available to us in both the private and public spheres of knowledge. He (for the car driver is always male, the form has not yet found a way of accommodating female insights into how to navigate oneself around the world) knows how to use Satnav, A – Z or his own innate capabilities in recognising how the world roads systems should connect up; how to surround himself with the perfect soundtrack which mirrors how his own internal emotional turmoil connects to his public confidence in the morals of the highway code; and  how his mpg will accurately predict his eta. On a good day, the drivers knowledge is both organic and inorganic,  both evolved and constructed: man and machine are perfectly melded. On a bad day, you find yourself on the M25.

Arts based research has a particularly effective role to play if the driver finds himself on the Moebius Loop that is the modern outer city motorway. Poetry, site specific installations and bricolage can be bought into play on the car dashboard, creating new interpretations on ancient themes of mans inhumanity to man, the place of God in a Godless society and the existence of the Devil. The only risk to the driver is that by becoming so immersed in the knowledge that this research generates, they miss the turning for the Dartford Tunnel and are doomed to repeat their journey for a further 120 miles.

More travel knowledge here.

The reassuring knowledge of the HGV driver: how schools could benefit. Number 4 in the series: Knowledge, traffic and arts based research.

There’s a lot to be certain about when you’re driving a truck. You know you’re more imposing than pretty much else on the road. You can see more, anticipate more and from the elevated position of your cab, can reflect more on the foolishness and antics of lesser road mortals. Your philosophical reach matches the miles measured on your tachograph.

You know it will take you a good half mile to stop should you decide to break: you’d be better off making an appointment with your gear box to slow down, rather than rely on acting in the instant. You know you are carrying out some vital economic, social or cultural function: moving widgets by the million or self build furniture to homes bracing themselves for the arguments that will leap out of the box the moment they slit open the cardboard with a stanley knife.

Safe in this knowledge, the HGV driver reflects many schools approach to teaching children. They know the curriculum and navigate it with confidence; they will take a long time to slow down and change direction and are secure in the belief they are undertaking vital economic tasks: training the youth of today to be the economic generators of tomorrow.

However, HGV drivers have their achilles heels too. Their inability to see very much behind them and their innate inertia means they cannot respond easily when faced with an immediate accident in front of them on the Euston Road. They can easily jack-knife and cause hours of disruption for hundreds of fellow travellers if they spill their widget load over the Queens Highway. Their security in their knowledge is fine in times of certainty and if no-one else is on the road. These days however, nothing is certain and traffic is an inevitable consequence of venturing out on the road for everyone. “Don’t blame the traffic – you are traffic” as some bright spark in the automotive industry recently wrote.

HGV drivers, like cyclists and taxi drivers, could benefit from a course in art based research: the understanding and knowledge this would generate would help them become more nimble movers, respond more effectively to the needs of other members of the traffic stream and give them a sense of humanity when it comes to carving up a motorbike on the inside lane.

More travel knowledge here.