Darren Pritchard’s Rent Party was programmed as part of our IGNiTE theatre and dance Spring Season.

Maya Ilogu, aspiring actor and Bristol resident has been blogging about coming along to our IGNiTE performances and workshops this Spring. Read her latest instalment on Darren Pritchard’s Rent Party, that we like to call ‘come dance at Rent Party, even though you’ve not done this type of thing before’.

Over to Maya:

On the 16th March I attended both the workshop and performance of Rent Party. When I arrived I went straight into the main theatre; which was where the workshop was being held.

"As a person of colour living in the UK the show was relatable and they talked about a lot of issues in the UK"

During the workshop I learnt some choreography which I found out was going to be a part of the performance. This is something I didn’t expect to be doing and I don’t have a lot of experience but it was really fun to learn and to be a part of. We learnt the choreography step by step and rehearsed with the performers. The performers were doing it with us and so we had someone to follow if we were unsure of the steps. It was all fun and not taken serious. We had to keep the fact that we are going to be a part of the performance a secret to make it look like a flash mob.

I really liked the choreography - it wasn’t too complicated and was fun to learn and do. we went out to the main entrance just before the show was about to start. The performance began; it was set out like a rent party, party games, music and dancing which meant you couldn’t help but want to join in.

In the show they each told their own story and experiences of growing up in the UK as a person of colour and the issues they had to overcome. We were given play money which we would give to the performer we thought deserved the money at the end.

The show in general was inspiring and gave me motivation to get to where I want to be. Something I really like about the performance was that it was really energetic, fun and everyone could get involve. As a person of colour living in the UK the show was relatable and they talked about a lot of issues in the UK but they didn’t always say them in a serious way which meant they kept to the theme of their performance.

This performance was appealing to everyone and was nothing like I had ever seen before. Before I came to the workshop and performance I didn’t know what to expect other than it was going to have a party vibe and there was going to be music and dance. So I was excited to see what was going to happen.

From a young person’s perspective, who wants to get into acting and performance, it was great to take part in and learn from. I learnt new choreography and gained confidence in performing infront of others. I got a better understanding of different types of performances.

You can read more of Maya's blogs over here.

IGNiTE is supported using public funding by Bristol City Council and by the National Lottery through Arts Council England

Scottee's workshop explored making art about 'issues'. Photo Alexa Ledecky

Our Spring 2019 season of theatre and dance presented innovative artists who spoke from the heart and asked: How do we strip away the layers of expectation placed on us by society to find the truest version of ourselves?

Shows included: Fat Blokes from Scottee; Confessions of a Cockney Temple Dancer by Shane Shambhu; Rent Party by Darren Pritchard Dance; Windows of Displacement by Toussaint To Move.

All shows included ways for audiences to get involved, from Scottee's workshop Getting Things Off Your Chest to Rent Party's post show disco.

We also welcome and supported four IGNiTE artists in residence -Ania Varez developed and shared her project 'Guayabo' (Venezuelan slang for 'heartbreak').  Read her thoughts on taking the project to Spill festival and an honest and brave interview about the reasons and importance of the project with the BBC online.

Vicki Hearne, creative director of Untold Dance Theatre an all female intergenerational company, created a new piece ‘Practically Perfect’, a project that focused on the idea of perfectionism, the journey to strive for this unattainable goal and how this affects women in particular.

Audiences take a short break during Roxana Vilk's sharing of Lullabies. Photo Alexa Ledecky

Roxana Vilk's  'Lullabies' explored heritage migration and identity though collecting lullabies sung to children by families and parents across Bristol.

Sharing Hyper Fem - Viki Brown. Photo Khali Ackford

Viki Browne's 'Hyper Fem' asked whether the performance of femininity through Drag can be as powerful, political or subversive when performed on a female identifying body.

IGNiTE is programmed in collaboration with our Programming Forum.The forum is made up of members of the communities who regularly use Trinity and they help advise our programme.

IGNiTE is supported using public funding by Bristol City Council and by the National Lottery through Arts Council England

7.30pm
Performance showcasing the work of Gerry’s Attic dance including a new piece by renowned choreographer Charlotte Vincent with a guest performance from Striking Attitudes.

This performance will be preceeded by a free panel discussion in the theatre from 6.30pm, the panel will be free to attend but please book your place here to confirm.

Why not join us on Saturday and Sunday for public workshops, available for over-55s of any ability. Availability will be limited so please book your place here. Tickets are £3 per person.

Tickets for Sunday's performances can be found here

During the afternoon prior to performing his show as part of Trinity’s IGNiTE, Scottee gave a workshop titled “Making Stuff About Stuff”. The session was delivered in an open-minded, safe space, allowing all participants to exchange ideas freely.

Those who attended were able to share amongst one another and with theatre maker and performer Scottee himself. They discussed ways of finding inspiration for creating new work through different exercises.

Scottee introduced ways of finding new themes to develop new meaningful work. He started off by encouraging the participants to create a list of words that reflects their identity in their own eyes and the eyes of others.

In the second phase of the workshop, Scottee invited the participants to create a list of what makes them angry and to choose one of these particular ideas and write a “rant” about it.

"It felt like a really safe and generous moment. I liked having less 'showing work' and more talking about creative process in an interactive way" - workshop participant

There are plenty more IGNiTE workshops around the corner. Why not join Shane Shambhu (Confessions of a Cockney Temple Dancer,10 Mar) or Akeim Toussaint in the day time (before Windows of Displacement, 23 Mar), or drop in just before Rent Party (16 Mar) take to the stage for a dance workshop?

Scottee makes work with non-professionals artists (in Fat Blokes the four dancers had ‘never done this kind of thing before’), exploring issues about personal experiences that have a common theme. His work is about encouraging ‘safe spaces’ for new work to be created – ensuring new voices get heard.

Before the show Scottee ran an afternoon session ‘Making Stuff About Stuff’ - a workshop designed to address the things that make us angry in the world. Aspiring actor and Bristol resident Maya went along to find out what a workshop with Scottee was like for a young person starting out.

Scottee (second from LHS) leading 'Making Stuff About Stuff' photo @Alexa Ledecky

“I found out about this workshop and the shows taking place through Roseanna, the Assistant Producer at Trinity, and wanted to take part to develop my confidence and learn new skills.Before attending this workshop I had no expectations of what was going to happen or exactly what I was going to get out of it but I saw it as a new opportunity to get closer to where I want to be as a performer/actor.

"One thing I liked about the workshop was there was no pressure to share anything we didn’t want to and there were no right or wrong answers."

When I arrived into the room, chairs were set out in a circle at one side of the room where we all sat. The workshop began and Scottee introduced himself and what he identifies as, and then everyone in the circle went round and introduced themselves, what they identify as and where they want to be. We were told that there should be no expectations set and we are not here to learn anything.

Scottee asked us to each take a piece of paper and pen. We folded the piece of paper into a leaflet style and on one side, those who wanted to, wrote down all their identities and how others see them. If we wanted to we could then discuss them and people got the opportunity to ask questions on any specific identities we were unsure of, had questions about or found interesting. I decided to share my list with the group.

We then went to another side of the paper and wrote all the things that made us angry. After mentioning the things that made us angry we then wrote down a rant about this particular thing which we hated. I wrote about racism and my rant was against those who are racist or who don’t see racism as a serious issue. At first some of us struggled, finding it difficult to rant about something when we were not in an angry mood. For others it was an opportunity to get the issue off their chests. There was a mixture of very individual issues and those that affect lots of people. Scottee encouraged us to read over it and add more details into the rant.

The group shared their 'rants' about the things that made them cross photo @Alexa Ledecky

We came to a final decision about whether we wanted to throw it away or keep it. If we threw it away, it was like we were done with the issue, and if we kept it then that may have meant there was still more to write, discuss or work on.

One thing I liked about the workshop was there was no pressure to share anything we didn’t want to and there were no right or wrong answers. Everyone showed signs of being comfortable in the group through their body language and the conversations we had. People opened up about their identities and personal issues. It was a relaxed intimate environment without anyone being in your face.

This workshop helped me personally because I was able to think of how I identify myself and how others identify themselves - my confidence in having discussions and sharing things with others has definitely increased."

Scottee’s workshop was a great opportunity for anyone working in performance, particularly socially driven work, to learn techniques around developing work.

Want to take part? We have more workshops coming up as part of our IGNiTE Spring season.

On 10 March, learn Bharatanatyam dance with Shane Shambhu ahead of his for dance/comedy show Confessions of a Cockney Temple Dancer. 16 March learn voguing and house styles at a pre show workshop then join the party crew for dance experience Rent Party and, finally on 23 March join dance artist Toussaint To Move for a workshop about his creative process ahead of his show about migration Windows of Displacement.

Making Stuff About Stuff was presented as part of IGNiTE - our programme of world-class, innovative theatre and dance about issues that matter to people now, starting conversations and sparking debate. IGNiTE is supported using public funding by Bristol City Council and by the National Lottery through Arts Council England

Viki Brown during her Hyper Fem sharing (photo credit @ Khali Ackford)

Viki shared her work: Hyper Fem in early January 2019 at Trinity. Hyper Fem asks whether the performance of femininity through Drag can be as powerful, political or subversive when performed on a female identifying body. It is strongly inspired by some of her recent previous projects which involved epic wigs and performing as a ‘make up girl in a tiny dress’.

Many people came along to Viki's sharing, including Trinity staff (photo @Khali Ackford)

The IGNiTE team attended alongside Trinity staff, industry professionals and members of Many Minds the Bristol based arts and mental health charity that Viki is a co-director of. A sharing is the opportunity for an artist to receive feedback on their work in progress and to develop the piece further. For audiences it is an opportunity to 'contextualize the artist’s vision'.

“I work alongside resident artists helping with admin and logistics. Often we talk about road blocks they are facing and their '’break though moments'’. Because of this when I'm given the opportunity to see sharing's I jump at the chance. It gives me the opportunity to push my boundaries and offer perspective that may not come from the artist’s typical audience. ” - Ripley, Admin Assistant

Viki interacts with the audience after her sharing of 'Hyper Fem' (photo @Khali Ackford)

Looking back on her residency Viki says: "Developing ‘Hyper Fem’ at Trinity has been an incredible opportunity for me. I find the building, its history and its placement in the city truly inspiring. It's political past and its dedication to the multiple communities who use the space have challenged me to think and dream bigger than ever before. I felt safe, supported and welcome in the building which after two weeks of working there started to feel like a second home. We are now excited to begin the next phase of the project: finding partners and commissioners to work with on the show!”

In March and April welcome Roxana Vilk whose residency will focus on the lullabies families cross Bristol sing to their children.

29th March 2019 7:00pm - 9:00pm (tickets)

30th March 2019 2pm-4pm (tickets) and 7:00pm - 9:00pm (tickets)

31st March 2019 2pm - 4pm (tickets)

Performance artist Tom Marshman invites you all to a marvellous party, bringing to life the fascinating personal archive of Oliver Messel, one of the twentieth century’s leading theatrical stars.

Part-installation, part-performance, the events are free and open for drop-ins throughout the day - just turn up at Trinity's reception.

As master of ceremonies, Tom will be drawing out untold stories from Oliver’s captivating world, animating the installation with timed performances inspired by a host of characters from Oliver’s personal and professional life; from Bright Young Things, to Hollywood starlets and theatrical dames.

Visitors are encouraged to explore the installation, sharing in Tom’s curiosity as he delved through the Archive, discovering handwritten letters, musings and conversations, brought to life through interweaving audio and reproductions of original material.

Tom’s shows are known for their ‘hand crafted, intimate and naughty’ approach, often both ‘humorous, high-brow, low-brow, sensory, stomach churning, conversational, and sentimental’ all at once. Join us as he turns his hand to the hidden histories of Oliver’s life, celebrated through the stories of this marvellous party.

This performance is at multiple locations. You can find it at the following -

26 February, Kings Weston House Social hosted by Impermanence see http://impermanence.co.uk for more info (booking required for this event only). Event supported by Bristol Ageing Better.

2 March, The Vestibules (Deanery Road), City Hall, College Green, Bristol, 10am – 4pm (with timed performances at 11am, 12pm, 2pm and 3pm)

3 March, The Vestibules (Deanery Road), City Hall, College Green, Bristol , 11am – 4pm (with timed performances at 11am, 12pm, 2pm and 3pm)

9 March, Trinity Centre, Trinity Rd, Bristol BS2 0NW, 10am – 4pm (with timed performances at 11am, 12pm, 2pm and 3pm)

23 March, Arts Mansion, Ashton Court Estate, Long Ashton, Bristol BS41 9JN, 10am – 4pm (with timed performances at 11am, 12pm, 2pm and 3pm)

24 March, Arts Mansion, Ashton Court Estate, Long Ashton, Bristol BS41 9JN, 11am – 4pm (with timed performances at 11am, 12pm, 2pm and 3pm)

Save money with thousands of discounted tickets and offers in the Bristol and Bath 24-hour culture flash sale from 10 am tomorrow (Thursday 17 January).

Windows of Displacement (23 March) explores Issues surrounding migration, home, borders and identity - some of the biggest questions of our time. Photo credit @Ashley Karrell

From music, theatre, art and museum exhibitions to Planetarium shows and theatre classes, there are deals galore. Take a punt on something new, grab a bargain and kick off your year with a barrow-load of amazing culture. This is the 10th edition of the Culture Flash Sale, which this time sees over 20 organisations from across Bristol and Bath offer culture fans amazing discounts and deals to help beat the January blues.

Save 20% on Benjamin Zephaniah (16 May) tickets during the flash sale

Grab yourself 20% off selected IGNiTE and live music shows by using the code: FLASH20 at the check out - there is only a limited number of tickets available at this very special Flash Sale discount so do-not miss out!

TECH N9NE 2 Feb 7:00 PM

Slum Village (LIVE) X Abstract Orchestra 7 Feb 7:00 PM

Fat Blokes – Scottee 20 Feb 7:30 PM

Confessions of a Cockney Temple Dancer - Shane Shambhu Sun 10 March 7:30 PM

Windows of Displacement - Toussaint To Move 23 March 7:30 PM

Benjamin Zephaniah & The Revolutionary Minds Thu 16 May 7:00 PM

Don't forget to use the code FLASH20 at the checkout to get 20% of these selected shows

Other highlights from the sale include 20% off selected tickets at Bristol Old Vic (link will be live at 10am 17 Jan) , discounted tickets to SS Great Britain's Late Nights and 50% of selected gigs at Lakota (use code 50OFF).

Celebrate flab, double chins and getting semi-naked in Scottee’s Fat Blokes (22 Feb). Laugh at the hilarious Confessions of a Cockney Temple Dancer, Shane Shambhu's biographical story of cultural fusion and clashes in an East London playground (10 March). Join Darren Pritchard Dance, their artist friends – dancers, singers, musicians and poets in the 1920’s Harlem Renaissance Inspired: Rent Party (16 Mar). Then, explore issues around migration in Toussaint To Move’s autobiographically sourced Windows of Displacement (23 March) where the shifting (and increasingly urgent) politics surrounding the movement of people takes centre-stage.

Explore issues around migration in Toussaint To Move’s autobiographically sourced Windows of Displacement (23 March)

Rent Party (16 Mar): a kaleidoscopic picture of what it means today to be young, gifted, and black – and poor, and gay.

From post-show talk backs (Fat Blokes 22 Feb, Windows of Displacement 23 March) to workshops (Making Stuff About Stuff, Scottee; Creative Dance with Akeim Toussaint Buck; Contemporary Dance workshop with Shane Shambu) there are plenty of ways to stand up and get involved in the season.

Sign up to: Contemporary Dance workshop with Shane Shambu, 10 March, £5

All IGNiTE tickets are £11 / £9 concs (including booking fee) and workshops of £5 (including booking fee). Communities who use Trinity regularly could benefit from subsided tickets, please email marketing officer sarahb@3ca.org.uk to find out more.

Get involved with IGNiTE

Volunteering - from stewarding to photography there are many ways to get involved in IGNiTE. Find out more about the opportunities on offer here.

Test audiences - help shape the work artists and companies create by signing up to be part of an IGNiTE test audience.

Residencies - find out more about our IGNiTE artists in residence here.

We'll be opening up doors at 3:30pm with the first match beginning at 4:00pm to give you enough time to settle in before we start!

No physical tickets will be distributed for this event. Print off your PayPal receipt or present your transaction number on the door.

#ATTACKNOTURNS

This event will be recorded for On Demand. No filming permitted.

All tickets are nonrefundable and sold as general seating, no reserved brackets.

Ania sharing her work in progress at Trinity (photo @ Alastair Brookes)

A few thoughts about sharing Guayabo at SPILL Festival of performance 2018

"I just didn’t know how it would go until I had this experience"

Ania Varez is one of four Bristol based artists who are developing exciting new work in collaboration with communities at Trinity over six months as part of our IGNiTE theatre and dance programme.

During her residency Ania is developing ‘Guayabo’ a participatory work that invites people to gather around their pain and the pain of others and is heavily influenced by Ania’s move from Venezuela to leave her country’s violent dictatorship. The crisis is rarely mentioned in mainstream media and Ania has been using her art to share her and her family’s experiences with others.

Ania recently took ‘Guaybo’ to Spill Festival, an international festival of contemporary arts and activism in Ipswich. We asked her to tell us the four things she learnt while she was there.

Maybe not all works are meant for art festivals (or maybe they need a bit more help)

Guayabo is a very challenging piece to share for different reasons. Mostly, because it requires placing myself in a very vulnerable state, my family is also exposed through the videos and texts I read, and the topic is extremely painful and difficult on its own.

I was concerned that those who came to experience the work might not have the capacity to offer the mental and emotional investment this piece requires due to the festival environment which is overwhelming with people quickly moving from one performance to another. I also felt the audience needed more time to process the difficult information that Guayabo conveys, whilst in a safe environment, before leaving the room and returning to a conventional social mode.

Towards the end of the work, I invite people to stay in the room for as long as they need and to chat with me if they wish, but since people had to rush to another show, most of them could not have that time, which felt important in terms of caring for themselves and for me. To know this for future sharings is really positive!

I will think about what needs to change inside the work to ensure people receive the care they need. However, the context is also important. I’m sure SPILL would have made a bigger effort to ensure these things happened if I had spoken about them beforehand, but I just didn’t know how it would go until I had this experience. Maybe arts festivals are not the right context for Guayabo, or maybe it just needs some programming adjustments (have more time altogether, organising a meal to share right after, for example) would really help to overcome these difficulties.

Guayabo connects people in the UK with Ania's family in Venezuela

It’s nicer to meet people outside of performance settings

Whilst being at SPILL I slightly regretted not having the time to see other works and meet many people. Sharing this piece took all of my time and energy and I didn’t have the space to experience much more. In hindsight, I notice that I naturally felt more inclined to encounter people outside of the performance settings (at breakfast, or in the artists green room) in a more relaxed and meaningful way, and most of the time we didn’t even talk about our work which I enjoyed much more.

Before arriving to SPILL, I was quite worried that everyone around me would be trying to constantly pitch their work at each other, but I was glad to discover that most people seemed to agree that having a good time and laughing together was more important.

Self care and support kept everything together

I had severe technical difficulties during my first show and right until the beginning of my second show. This uncertainty added pressure to sharing such personal work, which massively compromised my mental health during the performance days.

Having my producer, Katherine Hall, with me during the first two days really kept me safe and capable of getting through the difficulties, as she took care of many things and allowed me to concentrate on the work. Sadly, she could not stay for the last two days and that would have really affected me if it wasn’t for Shabnam Shabazi (the Wellbeing Liaison of the festival) and Manon Santi (part of the SPILL team) who were there to support me. They gave such gentle and caring attention to me and to the work: this meant I could present the work without having a breakdown or feeling like I was delivering it on my own.

It’s not the end of the line

SPILL felt like an incredible opportunity for me as an artist and a person. It’s the biggest platform I have ever shared work on. But I didn’t want it to feel like the ultimate platform, or the culmination of this long process. I wanted it to feel like another island I stumble upon in the middle of this long trip. A place to pass by, gather things that felt valuable, meet great people and then continue on the journey. Almost one month after the festival, I see this opportunity has brought a few open doors, some new friends and a lot of learning. I enjoy holding on to this feeling of continuation, this long process that exists independently of the platforms that I visit, but continues to be nourished by them. I am looking forward to continuing my research at Trinity Centre next year.

Read more about our IGNiTE programme and artist in residence just here.

IGNiTE Artist Ania Varez is developing the performance piece “Guayabo” as part of her residency (photo @ Alastair Brookes)

Ania Varez is a young Venezuelan artist who left her country’s violent dictatorship and moved to the UK. The crisis she escaped is rarely mentioned in mainstream media but Ania has been using art to share her and her family’s experiences with others.

She joined Trinity as an IGNiTE resident artist in September to develop her new show “Guayabo”, or “heartbreak” in Venezuelan slang. In late October, she invited people to join a sharing session in which she presented her work.

Ania's homeland, Venezuela is experiencing a silent humanitarian crisis (photo @ Alastair Brookes)

All the elements that formed part of Ania’s performance painted a sharp nightmarish picture of her city, a place that has lost all of its warmth and safety. It was brilliant to not just watch but to actually actively take part in the interactive performance Ania created as part of her residency with Trinity.

Prior to entering the performance space, we were greeted by Ania and added to a WhatsApp group by her assistant to receive messages and media during the performance. We were then invited to walk into the space – a dark room with two rows of seats lined up to face one other. At one end of the rows; a TV, at the other end; a large lamp, switched off. The only other light source in the room was dim, the atmosphere was heavy.

Only a few minutes in, Ania invited us to lie down on the floor while she told the story of a murdered corpse being found in a park while she and her lover were peacefully laying down on the grass. This was a tipping point in the performance; by involving our bodies in the story-telling, it felt like we were brought incredibly close to Caracas, her home city, and to the terror that reigns there.

People wrote who they loved on apples as part of Ania's grief party (photo @ Alastair Brookes)

From writing the name of our loved ones on an apple, a mundane fruit that is now impossible to find in Venezuela, to joining efforts to smash a piñata, we were all made part of her grief party. The poems she wrote and read and the ongoing TV screening of the footage she gathered during a rare visit to her family were striking and raw. “In this city, laughter feels like a miracle”, “The last second of panic before you close the front door”, “Until there’s a bullet in the back of everyone you know”.

During the Q&A that followed the performance, we were asked if the stories that involved violence were too descriptive and shocking, but were all positive that they gave the show strength and impact.

Guayabo is about creating connections between places where the connections have been broken. (photo @ Alastair Brookes)

One thing felt very clear: “Guayabo” is not a teary-eyed drama seeking the audience’s compassion. It’s an invitation to connect Ania’s isolated family in Caracas and England. An attempt to create a positive link between two places that have been completely disconnected, if only for an hour. The large lamp that stood unlit in the room was set up to switch on if Ania’s mother replied to her WhatsApp message: “Are you safe today?”. We all sat waiting for the lamp to turn on for a solid minute, but it didn’t. Instead, Ania recorded a voice message of all of us clapping and cheering for her mother as a gesture of acknowledgement and support.

The 31st of October marked the 2 year anniversary of Ania hugging her sister for the last time before leaving. She marked the day by performing “Guayabo” at SPILL Festival in Ipswich.

About IGNiTE

IGNiTE is Trinity's in house programme of world-class, innovative theatre and dance about issues that matter to people now, starting conversations and sparking debate. IGNiTE is supported using public funding by the National Lottery through Arts Council England and buy Bristol City Council

Vicki Hearne is part of this years cohort of  IGNiTE artists in residence (photo @Megan Ashton)

Alexa Ledecky, our very awesome project assistant on our IGNiTE programme, went along to IGNiTE resident artist Vicki Hearne's sharing of the work she is developing here at Trinity - sharing's are an opportunity for artists to receive feedback about their work.

Read on to find out Alexa's thoughts about 'Practically Perfect'.

Last month, Vicki Hearne and her Untold Dance Theatre fellow female performers brought their work in progress to Trinity for a sharing session. Audience members were invited to attend the performance for free and encouraged to share their feeling and impressions about the ideas that have been developed so far. Vicki has been working on “Practically Perfect” as part of her IGNiTE residency with Trinity since early September.

"Unity definitely shone through the dancers and musicians during the performance."

The show uses dance and theatre to explore how most women are often pushed to mould their body into an idea of perfection that society dictates. As the performance began, the lights dimmed and two musicians sat by the side of the scene set the atmosphere with an acoustic guitar and synth live soundtrack. The dancers entered, carried by the ethereal melody and began to tell us their story. A recurring theme became apparent: the female body being objectified with harsh humour and sarcasm.

Vicki had several solid scenes to present to the audience. To mention a few without giving too much away; robotic Barbie dolls, a restaurant serving perfect female bodies on a platter, a “cooking” class on how to make a flawless woman. All those scenes involved folding, crushing bodies and treating them like objects, quite literally making them submit to society’s vision of perfection. The audience was also very receptive to the challenging subjects tackled and invited Untold Dance Theatre to go deeper and make them feel even more uncomfortable. The exploration of a serious subject did not cut out artistic creativity. Each scene was different and the audience stated it will be interesting to see how the “chaos binds with the more flowy parts” in the final performance. Discussing the overall tone of the show, a viewer pointed out: “There are kitsch moments, but those were so precise and clean. The comedy helps with the more earthy parts”.

Vicki and the cast listened to the audience with poise, eager to use this sharing session to develop “Practically Prefect” further. Some open expectations were expressed: “The rhythm was building into something that was establishing. I would like to see everyone go completely wild at some point”. The viewers repeatedly showed excitement about finding out the answers in the finished piece: “What happens the the reject; are they ‘put right’ or are they ‘celebrated for being imperfect’?”.

A woman concluded the discussion by encouraging to celebrate our imperfections rather than to condemn them: “We don’t have to be whole as an individual, we’re whole as a group”. One thing is for certain - unity definitely shone through the dancers and musicians during the performance.

The sharing of the work took place in Trinity's Ffye Hall (photo @Megan Ashton)

Stay tuned for updates on Vicki Hearne and our three other artist residents here on our website.

IGNiTE is supported using public funding by Bristol City Council and by the National Lottery through Arts Council England

IGNiTE resident Ania Varez describes her practice as 'community-engaging'

I want to give people in England a point of contact with a crisis that is largely undocumented in the UK. Ania Varez

Ania Varez is a Venezuelan artist who trained in classical dance and moved to Bristol in 2015 having graduated from the London Contemporary Dance School, before moved away from performing dance towards more participatory projects that explore issues of migration and loss.

We supported Ania during our 2018 IGNiTE Artists residency programme to develop her project Guayabo (Venezuelan slang for heartbreak). This was a participatory work that invited people to gather around their pain and the pain of others, challenging our ways of acting and caring for one another through geographical distance or cultural differences, as a medium of survival, transformation and belonging.

We really liked Ania's reasons for applying for an IGNiTE residency:

"The experience of leaving my home in the midst of a severe humanitarian crisis and facing the challenges of being an immigrant in the UK, as well as witnessing the current migration crisis worldwide, has strengthened my urgency to develop a practice for these issues to be addressed collectively and creatively, here in England."