Babylon Arts are offering nine micro commissions for creative practitioners of any artform, to provide a gentle springboard for them to work up a new or existing early idea, that is about connecting people in East Cambridgeshire with the arts in some way.
This opportunity is aimed at creative practitioners who have some experience in delivering socially engaged arts activities or projects that make connections with people.
A micro commission payment of £200 for each of the nine creative practitioners that are selected from their expression of interest.
The chance to discuss your idea with a panel of creatives and project managers to get feedback, make connections and gain suggestions for next steps.
The opportunity to have your idea selected for a £2000 commission to develop and bring to life your project, so that it can be tested/delivered to an identified audience, group or community based in East Cambridgeshire. We have one £2000 commission available.
The opportunity to have two, one-to-one coaching sessions with a qualified careers coach
All you need to do:
To get started, creative practitioners need to submit an expression of interest either by completing this short online form, or sending in a video of no more than 2 minutes, covering the following points:
Two or three sentences describing your experience in delivering socially engaged arts activities or projects
A brief outline of your idea – this might be something like “As a filmmaker, I’ve been thinking about how we use our smartphones to capture and edit films and I have the spark of an idea about how to use this technology to create a film with young carers or young people excluded from school…”
You might show us an example of your work or provide a visual reference point for your initial idea.
If submitting a film you will need to provide your postcode and contact telephone number in the email too.
Deadline for Expressions of Interest is 10am on Monday 26th April 2021.
About midway through 2020 the whole concept and notion of Zoom fatigue was being discussed. Suddenly, new regular phrases emerged, such as ”Can you hear me okay?”, “You’re on mute!” and “you have no authority here..”
And I envied it… I haven’t been in many Zoom meetings. As a freelance performer and creative I wasn’t really in a team. I wanted to play with Zoom!
So I started to tell stories on Zoom*.
*I know it’s never going to replace live work with an actual audience. One you can see and smell. And I, like you I’m sure, miss that dearly…
And I loved it. I loved having a new audience of people to interact with and get a response from. As I’ve got more used to the software I learned how to adapt my material and performance style to increase interaction. I started to be able to bring the bulldozer of chaos that I adore in my own storytelling, into this new realm. I learned how the software could include people at what ever level they want to be included.
It has meant that I’ve been able to work across the country and beyond. That I’ve been able to tell stories and shout at children from around the world! Who could ask for more?
I had hoped to tour my storytelling show, Twisted Tales for Terrible Children…” in 2020. Instead I took it onto Zoom. And I could hear laughter. I could see the engagement and I could involve an audience that wanted to be part of my stuff and nonsense. I was invited to perform for Manchester Libraries, with one of the days being 20 classes in 3 shows. Joyous!
I’m also the talent manager for my cousin, Father Christmas and actively encouraged him to deliver some storytelling zoom sessions. And equally, he had a wonderful time being extraordinarily silly. Well he does have a very high pressure job so it’s good to let off some steam. The Father Christmas Storytelling was projected into the venue at The Pound. Mr Christmas was able to see and hear the audience. Sat in the their family bubbles 15 minutes before the virtual audience, there was a chance for FC to have a pre show chat and hello with those that had come out on that Christmas Eve. The Zoom Audience was let in and the estimable Pound Zoom hosts were able to let me see, hear and interact with audience members online and on site. After the Zoom show there was time for Father Christmas to interact once again with the audience in the venue. Before having to leave and get on with the other jog of that night… That blend was deliciously fun. Jokes were swapped, funny faces were pulled and shared. Laughs and the lovely echo of a time together that will soon return, I’m sure.
More recently I have been enjoying zoom storytelling sessions for Cubs, Scouts and Beavers up and down the country. Virtual Fireside storytelling. Plus a Funny Looking Kids: Comedy Club. An online live sketch show for families. So I thought I would give you a few top tips.
I think there are going to be plenty of opportunities moving forward, of retaining the online element. I’m looking forward to experimenting with blending live storytelling performance and an online audience.
Here are my very simple top tips, from a very simple Storyteller:
Play with Zoom as a Host if you haven’t, see what the differences are between pinning, spotlighting, the different types of views.
Keep your set up in gallery view, so that you can see as many of the audience as possible.
Look at the camera lens and not the Zoom room…
Have fun with a green screen! Or any blank wall colour. Adding backgrounds are a nifty little way to transport yourself with simple video and images.
Light your face. Bright and clear. It helps with the video quality.
Have the camera at eye height, not desk height. Look at your audience, not down on them.
Talk to the Waiting Room before you start your show! Ask them to change their screen name to whoever is watching this show.
I ask that a grown-up is there to give me a thumbs up if children are on screen.
Encourage people to take part. Unmuted as individuals, or a specific times, the full group. Or contribute in the chat.
Have a buddy/co-host that can help you steward the group and send messages to you about audience members desperate to be involved you might have missed.
I think it will remain perfect for scratch performances, readings, poetry, storytelling and more.
I can’t wait for live audiences, who we know are desperate for enthralling, engaging, exciting, entertaining performances. But not everybody is going to be able to get out so readily.
I know personally I am enjoying the opportunity to see more work from diverse people, from around the world.
I bet you’ve got a fantastic story to tell and I would love to watch and help. Do get in contact with your experiences. I always love a chat with another performer about what they have been up to. See you soon, on Zoom?
Some Zoom audience Feedback:
“The joy and laughter of the Beavers – and the parents chuckles in the background (we were a zoom session) spoke for itself.”
“Just wanted to say thank you for organising such a great meeting tonight. My children both really enjoyed it and I loved hearing their laughter throughout. It was exactly what we needed part way through this lockdown. Thank you.”
“Stories told very well and funny. Liked the “best smile”. Very much enjoyed the interactive bits.”
“The whole group loved it! Primarily booked for beavers and cubs, some of our scouts logged in also and he thought it was very funny, So spanned from 6 to grown ups, loved seeing them all laughing and enjoying, and thinking differently about traditional tales!”
About Gav Cross
Gav describes himself as a Storyteller, Creative & Idiot. Find them on:
Facebook – https://www.facebook.com/GavCrossStoryteller Youtube – https://www.youtube.com/gavcross Twitter – https://twitter.com/GavCross And grab a peak at the tour brochure for “Twisted Tales for Terrible Children…” – https://drive.google.com/open?id=1att7C_tXP4_Gv4qyFwjBOcg8mRIzjVZe
For the upcoming Funny Looking Kids: Zoom Comedy Club details, go to https://funnylooking.co.uk
Nicola Pollard is a freelance theatre director, and Artistic Director of Up The Road Theatre, a small-scale touring theatre company based in Kent. Founded in 2015, the company have since created and toured two shows across the country, visiting village halls, community theatres and non-theatre spaces. www.uptheroadtheatre.co.uk
I asked Stephie back in April if she’d like a blog from me. I’d been blogging for Eastern Angles while directing their spring tour, and, after a brief hiatus, had just concluded the series of missives. During those intense, focused weeks of rehearsal in February and March, coronavirus had felt really far away (literally, we were in Suffolk), but news had gradually filtered through that something alarming was occurring. Then, the idea of cancelling a handful of shows felt absurd. Government restrictions on gatherings seemed far-fetched. But, plans for the tour changed, then changed again, and again, until the entire 10-week tour consisted of an ‘opening night’ behind closed doors. I won’t need to explain to many of you what it’s like to work on something for months then have it all taken away. A show isn’t done by opening night. It needs time, and audiences, to grow, breathe and develop into a fully-fledged production. We’re hoping that Red Skies will have that opportunity next spring.
So that was going to be the first blog, but I soon realised that no-one needed more stories of cancelled shows, lost work and fear for our future. In August I put it to Stephie that I could write a blog about starting to begin creative work again. ACE had opened up Project Grants, the summer looked good for outdoor performances, there was a general vibe of positivity.
As I eventually sit down to write this (September 24th) I’m not sure where we are. Many of our schemes, promoters and artists are in areas with local lockdowns, new restrictions have been announced and other restrictions passed into law. Many of us have sweated over and submitted ACE bids of one form or another, and might well be aware that our future, be that short or long term, depends on the outcome of those bids. It’s an uncomfortable limbo state.
How does it feel to be a freelance artist right now? I don’t know about you, but I think it’s vital to try to keep going with creative work, in whatever capacity we can. We don’t all have avenues, outlets or resources to actually make something regardless of what’s going on, or an audience eagerly waiting for us to put something out there. But maybe we can plan. Maybe we can dream and then turn that into something of a plan. I found it really hard to keep working on something when I couldn’t see a way it would ever see daylight, but now I think there is daylight, even if it’s a small chink that keeps changing size.
There will be a way through this and the arts will have a place. It isn’t easy – artists tend to need some kind of support from venues or organisations, and they can’t make any promises right now. I have to keep telling myself that there is no rush. I don’t want to be in that situation where I have to tell a hard-working, dedicated cast that our first night is our last night. I won’t be the first one out there with a show when we’re given an unequivocal green light. But I will be out there at some point in the future. Actors and other creatives want and need work. Audiences want and need work. Schemes and promoters will want and need work. That’s the motivation. At some point, Up The Road will be back on the road, and what a tremendously long road it will have been.
Do you have a Rural Touring story or point of view you would like to share on the NRTF blog? Email Stephie Jessop email@example.com with your idea!
No. Right from the beginning of lockdown Rural Touring schemes have been asking ‘how do we reach audiences offline’ and working with artists to address this. We work with audiences and in communities where access to the internet (or good internet) can be limited. Just as some schemes and venues will continue to think about digital work becoming part of their core offer in the future, others are exploring alternative art forms and ways of reaching audiences. So if you have an idea that isn’t digital, but also isn’t an in-person event, now might be a good time to explore that!
It is also a very stressful time, so if what you need to do is secure yourself financially, or take a break completely, we all want to support you to do that too.
One of the fantastic things about the lockdown was the access to digital work it has created – and the appetite for it among some of our least tech-savvy audiences. Some schemes have embraced digital work and started projects which they are now looking to tie in with their regular work and make long term, others have been focussing on how to reach audiences offline.
One thing all the schemes have kept at the forefront of all their digital thinking is, how do we deliver something online that still captures the magic of rural touring and feels local? If you’re thinking of creating or sharing work digitally, it is worth keeping this in mind too when you approach schemes.
Yes! And as we all know, the best people for creative ideas are artists. So if you’ve got a new project you’ve been thinking about that responds directly to these new conditions we find ourselves in then speak to your local scheme, keeping in mind their capacity right now.
Yes. Outdoor work is being considered, even for Autumn. But the same thought processes apply to indoor programming when it comes to considering how far artists would be travelling/touring, how will we accommodate them, how can we keep artists and audience safe. We have also been advised that the restrictions for events outdoors will be the same as the restrictions for indoor events, so this may not be as simple a solution as we originally thought.
If you haven’t already it’s worth looking at the ACRE guidelines for village halls reopening, to get an idea of the new restrictions promoters and venues will be working within, as they’ll also have new things to consider when it comes to hosting your show. For example, how will get-ins and get-outs be delayed or lengthened by new cleaning schedules?
There will be other ways touring will be different going forward. We are encouraging promoters to go cashless wherever possible especially when it comes to ticket sales, but as we work with such a variety of spaces it’s hard to say how each space will adapt. If you do have a tour that is looking likely to go ahead, it might be worth putting together a survey/checklist for your venues to fill out so you can get all the information you need about how your show will work in their space.
Now, but make sure we have all the information we need and be aware that 2020 is having a knock-on effect into 2021. Many shows which were due to happen this year have been rescheduled for future seasons – some schemes have the capacity and the funding to be able to have bigger future seasons to incorporate new programming alongside rescheduled programming but not all schemes. It’s also worth remembering that some tours which were due to happen in future seasons or were originally rescheduled for Autumn 2020, and are now looking at Spring 21 may not be able to happen so there is still the opportunity for new work to be included in programmes. Again arming schemes with as much information as possible about your work in one concise place will help them make decisions if another show falls through and they need replacements etc.
Going forward, and especially in the next 18 months, the way we all approach touring and the information we will need is going to be different. We advise you to update your tour packs to make sure you’re including as much of this information as possible, for both long and short term tour plans.
Where you are based, and how far will you be travelling?
Many schemes, especially the ones who are looking at programming events are likely to be looking to work with more local artists, so make sure your closest scheme is aware of you. Make sure you include if you were already in conversation with them, where you are based, and how far you would be travelling to get to them. If you have other tour dates in other areas then please also let schemes know about these dates. We’re aware of how much travelling people are doing, how many people we have come in to contact with, and what the danger of moving around lots might be. Schemes and promoters will want to know this information so they can make an informed decision.
Your accommodation needs/touring radius from home
Even if schemes are planning to book tours this Autumn, it is unlikely promoters will be offering homestays any time soon. As we all know the hospitality sector has been hit hard by the crisis, and we don’t know what that will mean for hotels and other guest accommodation across the UK.
And most importantly we want you to feel safe and comfortable when you’re on tour too, so it is worth setting yourself a touring radius and specifying any accommodation needs. How far are you willing to travel in one day? For example, if you were to go home every evening? Or if suitable accommodation can’t be found nearby. If you’re touring as a group and isolating together for the tour how much room do you need to be comfortable and support the mental health of everyone on tour?
How quickly can you be on tour?
We all now know how quickly things can change, so its good to let schemes know if your show can be on the road straight away, or if you need a specific amount of time to get prepared. For example, if you’re a band who have been touring together previously, it’s likely you could take a gig nearby at a drop of a hat, whereas a theatre production might need time to cast and rehearse.
How self-contained are you?
Are you a company or a band that lives and works together? Are you a group that could isolate together for two weeks before you begin the tour? Or are you putting together a cast of people from all across the country? Schemes and promoters will want to know this so that they can assess how comfortable they are with touring your show into their communities. Transparency and information is the key to making touring safe.
How many people are on the road
Similar to the above, now more than ever we need to know exactly how many people are on the road. This includes artists, technicians or stage managers, and anyone else who may be joining you (eg family members who aren’t actually part of the performance).
How flexible can you be?
If a date had to be cancelled at short notice what are your terms? Could you reschedule for a week later or would you need to ensure a fee was paid?
This is going to be tricky waters for everyone going forward, and everyone is looking at their contracts and cancellation clauses, if you’re planning a tour in the next 18 months you need to be thinking about how you make that viable.
Have you thought about how social distancing measure might affect your show and how they can be built in?
Currently, there are different restrictions in place for different types of performances. Make sure you are up to date with what rules are in place and how they might affect your show. The key one is obviously how much space will you need to make sure everyone on stage is at the appropriate distance from one another (if applicable) and the audience? Other things to think about is how will your get-in be affected, do you have your own risk assessment done? Is there anything else you will need to know from venues ahead of touring.
Have you got other creative ideas for making your show work within the new rules?
Schemes and promoters are open to new creative ideas and ways of working. If you’ve ideas for how your show can work within the new guidelines, make sure you share them.
This short form is designed to help you asses whether or not your show is Rural Touring ready. We take you through the very basic needs of rural touring and give you a list of things to consider. We also point you to other helpful resources and pages along the way. Please note this form is NOT a way of submitting your show to be considered for touring but should be used as a tool to equip yourself with the knowledge you need to approach schemes.