Tom Pritchard

Tom is an international performer of dance and theatre work, a facilitator of multidisciplinary improvisation and a published writer. He specialises in working with text in physical performance and collaborating across art forms, informed by his wide spread improvisation research On The Stage Of The Present. In this research, he approaches various multidisciplinary strands of process and performance inquiry through his improvisation practice.

He has performed with companies such as CoisCeìm Dance Theatre, Company of Wolves and Scottish Dance Theatre, touring internationally, including visits to China and New York as well as around Europe. He has also performed numerous times as an improviser with renowned artists such as Katy Duck, Kirstie Simpson and Adam Benjamin.

As an experienced dance maker Tom’s credits include Scottish Dance Theatre, IndepenDANCE Scottish School of Contemporary Dance graduation work, Royal Conservatoire of Scotland MA programme and Newcastle College. Tom has a wide experience of working in Disability arts and has collaborated with artists including Caroline Bowditch, Clare Cunningham and Janice Parker.

Tom also has a strong focus on education and holds its value as equal to that of performance. He runs regular workshops around the UK into his practice and has taught for the Royal Conservatoire of Scotland, University of Plymouth and the 4 Scottish dance agencies. In February 2013 he established @TheGlasgowJam, a regular multidisciplinary jam and workshop programme to encourage wider participation in improvisation as a part of leading healthy, creative lives!

For more information please visit www.onthestageofthepresent.com

Jo Hodges & Robbie Coleman: Residency Blog

New Years Day

We flew out of a monochrome ,rainy, cold, windswept South West Scotland into a full colour high definition Sri Lanka and were immediately knocked sideways by the humidity and temperature.  It took a few days to recalibrate our bodies and our thought processes are still being worked on.

Our house is a bit further into the jungle than Sura Medura, the main residency house, and this location has become more and more valuable to us.  As we have got to know the area a bit better we are realizing how great the divide is between our side of the train track and the beach side.  The beach and the road that runs alongside it is a continuous strip of hotels, shops and bars that are servicing the surfing/tourist community.  It provides a huge amount of employment for the village, which spreads into the jungle on the other side of the tracks.

Photo-1---beach

This uneasy, though vital alliance provides us with much food for thought, especially as we are provided with food at one of the beach side hotels and so regularly dip into it.  More and more we are drawn back into where we live and our lovely neighbours.  Waking up at this house is a fabulous experience, the dawn chorus is a totally exotic mixture of monkey arguments and bizzare bird calls.

The heat and humidity have been a real challenge with the slightest exertion leading to being covered from head to toe in sweat. This affects our brains too and we feel that we are constantly thinking underwater, trying to get some clarity, if only the surface could be reached. The occasional time that we end up in an air conditioned place has immediate effect, we get lively, start chatting at high speed and feel an instant relief. The heat and the pace of life here have a knock on effect when trying to get anything done – everyone wants to help and will give you an answer, that often turns out to be some semi version of reality. By the time we have got on a crowded bus to the town down the road, negotiated the barrage of traffic, tuk tuks, trucks, buses and mopeds all belching out fumes, and have gone in and out of endless dusty shops, trying to locate a few materials, a whole day has passed. Making work here it seems, will require constant adaptation both in the form of the work and in the timescale it will take to make it.

photo 2 Hikkdua

A further impact of the climate is impact it has on our sleep.  We are mapping these sweaty and disturbed sleeping patterns in a series of photos of our morning sheets.

Photo 3 Sheet-tryptich

We have become fascinated with the bags that the street food vendors use.  These are home made, usually out of children’s homework or office paper waste,  so you can be standing on the corner having a snack and reading some childs attempts at maths, though our favourite has been a list of spare parts for a Sri Lankan military jet.

Photo 4 bags

This is leading us into developing a series of our own designs which we will copy and make into bags to give to vendors to use and become part of a new ephemeral communication system.

Other work we are developing includes a video piece, based on a local woman who runs an informal and unofficial  Tsunami Museum in her own house.  The house is on the coast and was mostly destroyed by the wave.  She has moved back into part of it but uses the rest as the museum.  It consists of hundreds of unframed and informal photographs, drawings, press clippings and personal testimony as well as her own philosophical musings.  All pinned up on walls without any sense of design or order.

Photo 5 Tsunami-Museum

Kamani is there every day to talk to the visitors, telling her story and listening to theirs. Because she lives there too, she cannot leave and feels a powerful obligation to stay there as long as there is someone to listen.  This open ended commitment to what she is doing is both moving and troubling, will she stay for ever, reliving and reinterpreting a catastrophe?  Or will she somehow escape it and be free and let her house be a home again.   She is very articulate about this side of her project, but has no easy answers.  This strange sense of entrapment will be the focus of the work.

The vitality and optimism of the people here are a source of constant wonder and inspiration.  It seem to us that in most parts of the UK we seem to have lost that sense of adaptability, resilience and ingenuity that runs through society here.

We stand, flat footed in wonder.

 

Jo Hodges & Robbie Coleman

Our current practice focuses on explorations of the human relationship to environment and examinations of the complexities of place within an ecological and philosophical framework of global challenges and their local consequences.

Jointly, our work is multi-disciplinary and of a temporary nature combining forms such as performance, projected imagery, temporary installation and sound. We often create work by reimagining and reinventing existing processes.

Our practice is context and not media specific, being led by a research-based response to the physical, human and cultural environs. We are interested in developing new strategies for creating work in the public space and in exploring new ways of engaging audiences.

Robbie is a visual artist and designer. He has created and collaborated on local, national and international arts projects in a variety of media including live art, sculpture, installation and film.

Jo has a background in Human Ecology community development and social justice,

She has a diverse multi disciplinary practice, creating both permanent and temporary public works, site-specific interventions, time based pieces, exhibitions and performance. She has worked with The Gallery of Modern Art, Glasgow, The National Museum of Scotland and The National Portrait Gallery in London.

Sita Pieraccini: Residency Blog

Last week of the residency at Sura Medura…

My coloured notepad is almost full. The studio looks like a children’s arts and crafts workshop. I’ve been making. Dilani’s children have been helping too.

sita2

Our final presentation is this week on Friday. I want to update my blog prior to this to keep a more formal record of beginning, middle and…beyond.

sita3

I’ve visited a lot of different places over the past few weeks. I’ve walked and talked, surfed and safaried, ridden on trains, tuk-tuks, jeeps and bikes – dripping sweat surprising new parts of the body. The heat and humidity can be oppressive but it’s not kept me down. I’ve been all about the intensive touristing.

Our expedition to Tissa for the Yala and Bundala Safaris was an incredible experience. It was trying physically, my body being bounced, projected and rattled by local transport as well as by the safari Jeeps over the course of our three day visit. However, to sit in and witness some wonderful small moments of wildlife was mesmerising. Yala is a vast park. You don’t see much apart from land and trees and maybe the odd bird at first glance, but with the tracker spotting a large variety of species throughout the day, your awareness becomes heightened and you start to notice more and more. The scene that unfolded in one murky puddle between a pair of terrapins, a stork and a frog was like an epic tale of life, death, love and survival – all encapsulated in the form of a well played game of hide and seek.

The past week I’ve stayed at Sura Medura, gathering materials to work and experiment with. It’s nice to be ‘home’, my being nurtured by Dilani’s wonderful food and her playful children with whom I’ve had the pleasure to create with. I’m working on a structure made from wood and paper which takes it’s inspiration from the tea factory experience and the heaps and mounds of tea I saw being created there by the old Victorian machines.

The mounds of tea at the factory made an impression on me. The continuous outpour of this textured, valuable product  was a feast for the senses – rich, raw and somehow feminine. The smell, tactility and mass implied a simultaneous density and lightness, while worlds of process, environment and consumption were somehow manifest in these humble sitting heaps. In a similar way in which the man from Close Encounters can’t get the image of the mountain out of his head, the shape, form and texture of these mounds kept coming back to me and I’ve found myself creating my own models of the structures.

sita4

As I create more and research into potential materials for the piece I find some interesting crossovers highlighted by the locals I’ve shared my idea with. For example, it is a tradition in Sri Lanka for a new house to be blessed by a ceremony which is conducted inside a paper house, constructed by a local craftsmen. The decorative paper house sits inside the new house and is where the monk carries out the ceremony. I visited a paper factory near Hikkaduwa and discovered hand-made paper made from tea dust. Apart from being inspired by the stacks of hand-made paper created from recycled materials, including elephant dung! I felt immensely inspired to be in a working factory where the recycling and reusing of waste materials was being so passionately and industriously manufactured. The owner was very nice in showing me around and explaining where he gets his waste materials from and how he makes the paper. I find the recycling of materials and the initiative and energy of the people who do so very exciting and infectious. I’d love to see Sri Lanka becoming pioneers for sustainable living. It’s already incredibly inspirational on that front the way it is I think.

In between my work on ‘John & Yoko’ (my nickname for my tea mound structures because they resemble the image of the long haired couple from their bed in days), I’ve also a photography project on the go featuring pieces of costume I’ve created in response to the environment and stories both imagined and real. I’ve been inspired by the ever fading folk culture and traditions of folk songs and poetry amidst people from varying labours. Song is an important part of life and culture here it seems – many love to sing, and so do I. Kavi songs or song poetry can be heard online but there are not many english translations although I’m aware they are often about the land and work and the feelings of the worker etc. I find it interesting mainly for the area of voice and environment and how song is very much a way of connecting to the environment especially when also incorporating working with the land whether it be in the paddy fields or in mining for gems. I’ve yet to include song in to my work, but at the moment, I’ve been using imagery and costume to create a fantastical expression of an experience in a particular environment. I hope to take this out into the local community and stage such images featuring some local residents of Hikkaduwa.

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I’ve also had a play with the sounds Mark has captured over the past few weeks. Real recorded sounds are great to work with. I also have memories of most of the sounds Mark recorded as I was often with him so it has been nice to listen back to these and recall experiences in my development of new performance work and narratives.  Our first improvisation was two days ago and we created a sound score together then I used my own memories and associations with the sounds to generate movement sequences. It’s all happening.

 

 

Mark Vernon Audio Diary – November

Sound artist Mark Vernon has been busy adding new sounds from Sri Lanka to his Audio Diary of his residency at Sura Medura. Among the sounds Mark has gathered are the sounds of the Southlands College Marching Band rehearsing, the sounds of a Kandy dance lesson and Mark’s fellow Artists in Residence, Sita Pieraccini, harmonising with a boat engine!

You can enjoy each individual recording below, or you can listen to the whole audio diary on Mark’s Soundcloud page. The sounds Mark collects will be used as the basis for an sound work that captures Mark’s experiences in and impressions of Sri Lanka.

[soundcloud url=”https://api.soundcloud.com/tracks/120719856″ width=”100%” height=”166″ iframe=”true” /]
The guide describes some of the 18 sicknesses represented by the museum’s collection of medicine masks. Ambalangoda Mask Museum.
Pictured: temporary madness

[soundcloud url=”https://api.soundcloud.com/tracks/120720378″ width=”100%” height=”166″ iframe=”true” /]
In the workshop of the Ambalangoda Mask Museum the craftsmen use hammers and chisels to carve traditional masks from balsa wood.

[soundcloud url=”https://api.soundcloud.com/tracks/120727390″ width=”100%” height=”166″ iframe=”true” /]
Whizzing past in a tuktuk this children’s theatre production in a packed community centre caught my ear. The proceedings, with both Sinhala and English announcements were broadcast into the street over an outdoor P.A. system. Child actors dressed in a variety of animal costumes enacted dance moves that were characteristic of each creature. We were invited in to see the production but I preferred the sound coming over the P.A.

[soundcloud url=”https://api.soundcloud.com/tracks/120728516″ width=”100%” height=”166″ iframe=”true” /]
Komani, a survivor of the devastating 2004 Tsunami that hit the Sri Lankan coast describes the sound of the impact.

[soundcloud url=”https://api.soundcloud.com/tracks/120729383″ width=”100%” height=”166″ iframe=”true” /]
An unidentified creature, a frog or possibly a bird, stands out from the nightly chorus of frogs. Distant club music from the regular Friday ‘Vibration’ night drifts through the night air. Wewalgoda Road, Hikkaduwa.

[soundcloud url=”https://api.soundcloud.com/tracks/120732452″ width=”100%” height=”166″ iframe=”true” /]
A man laboriously turns the handle of a wooden buffing machine to polish moonstones. Galle Fort.

[soundcloud url=”https://api.soundcloud.com/tracks/120731741″ width=”100%” height=”166″ iframe=”true” /]
The girls of Southlands College in Fort Galle repeatedly rehearse the same song marching back and forth through the open courtyard of the school. There are regular breaks to sort out tuning and timing issues.

[soundcloud url=”https://api.soundcloud.com/tracks/120733564″ width=”100%” height=”166″ iframe=”true” /]
Sitting at her stool Seerani uses traditional techniques to hand make lace. The wooden bobbins clatter together as she weaves the threads at lightning speed. Galle Fort.

[soundcloud url=”https://api.soundcloud.com/tracks/120734274″ width=”100%” height=”166″ iframe=”true” /]
In one of the daily monsoons torrential rain bounces off the pavements, overflows gutters and pours down the streets. Fort Galle, Sri Lanka.

[soundcloud url=”https://api.soundcloud.com/tracks/120735674″ width=”100%” height=”166″ iframe=”true” /]
After the rain has stopped drips from the guttering patter on a corrugated tin roof. The regular splashes form a puddle beneath. The percussive rhythm of the drips has a musical quality.

[soundcloud url=”https://api.soundcloud.com/tracks/120736649″ width=”100%” height=”166″ iframe=”true” /]
The thrumming engine of an idling train is interspersed with crackling electricity. Recorded on the platform of Galle rail station.

[soundcloud url=”https://api.soundcloud.com/tracks/122082457″ width=”100%” height=”166″ iframe=”true” /]
Fruit and vegetable sellers shout out their prices to passing customers at the weekly market in Hikkaduwa. As you approach the noise sounds almost like a football crowd.

[soundcloud url=”https://api.soundcloud.com/tracks/122083144″ width=”100%” height=”166″ iframe=”true” /]
At Eagle house local children are given lessons in the art of Kandy dancing. The teacher counts and beats out the rhythm on the drum. In this clip the children sing and use finger cymbols to accompany the main rhythm.

[soundcloud url=”https://api.soundcloud.com/tracks/122083674″ width=”100%” height=”166″ iframe=”true” /]
On a cruise of the Koggala Lagoon Sita accompanies the sound of the boat engine as we arrive at the Cinammon island.

Mark Vernon

Mark Vernon is a sound artist and radio producer based in Glasgow. His arts practice encompasses live performance, soundtracks, installations and radio broadcasts – often blurring the boundaries between art, music and broadcasting. His key areas of interest are the human voice, field recording and soundscape composition, musique concrète and the radiophonic combination of these elements in works for broadcast and live performance.

Mark has produced programmes and features internationally for radio stations including WFMU, RADIA, Resonance FM, CKUT, VPRO and the BBC. He has also been instrumental in setting up a number of temporary RSL (Restricted Service License) art radio stations in the UK including Hair Waves, Radio Tuesday and Nowhere Island Radio.

Together with Monica Brown he runs the ‘Lights Out Listening Group’ – a monthly listening event focused on creative uses of sound and radio that takes place in complete darkness. He also records and performs solo and in a variety of collaborative music projects including Vernon & Burns and Hassle Hound with record releases on Staalplaat, Ultra Eczema, Entr’acte, Staubgold and Gagarin Records.

Currently he is approaching completion of a two year period as digital artist in residence at Forth Valley Royal Hospital where he has been developing new audio works for the context of hospital radio.

Sura Medura Winter Residency Artists for 2013 / 2014 Announced

UZ Arts are delighted to announce that the artists for the winter residencies have been selected.

The six artists who will be taking part in the international residency programme from October 2013 to January 2014 are:

Hannah Brackston
Jo Hodges and Robbie Coleman
Sita Pieraccini
Tom Pritchard
Lindsay Sekulowicz
Mark Vernon

Each of the artists will undertake a 6 week residency at the Sura Medura International Artist Residency Centre in Hikkaduwa. The centre was established in 2011 by UZ Arts and offers opportunities for all artists from all disciplines to create work that is enhanced by being developed in Sri Lanka.  The work developed and produced by artists during their residency will be exhibited at the Briggait in February 2014.

The Sura Medura residency programme is part of Creative Futures, a Creative Scotland talent development programme which aims to promote the professional development, capabilities, connectivity and ambitions of Scotland’s creative practitioners and organisations.

www.creativescotland.com
www.creativefutureshq.com

CS logo web size

Kit Mead – The Other Kwai – Merchant City Festival 2013

Kit Mead, our recent artist in residence at Sura Medura, will be showing his film  “The Other Kwai” at this year’s Merchant City Festival in Glasgow on the 26th July. It will be shown in South Block in the Merchant City in association with Glasgow Film Theatre and their Pop Up events programmers. More information about event can be found here.

You can also follow Kit’s progress in Sri Lanka making his film by reading his blog posts in the News section of the Sura Medura website.

Photo from the set of The Bridge on the River Kwai 1957
Photo from the set of The Bridge on the River Kwai 1957

Kit’s Blog – The Other Kwai Featurette

On Saturday the 23rd I presented ‘The Other Kwai’ a film I have developed during my time at the Sura Medura Art Centre. Set within the linearity of a single day with a narrative structure reflective of ‘The Bridge on the River Kwai’ (1957), broken by images from the Hollywood film and the weaving of chair caning, ‘The Other Kwai’ takes in the echoes of the impact when fiction collided with reality, creating a new history which continues to affect and reverberate through the rainforest canyons of the Kelani River at Kitulgala.  My previous film work has consistently been intended to be exhibited within installation spaces and I have found that while the focus of the audience is the projection of moving images, the space where it is presented can act as a crucial element to the work as a whole; helping to create an immersive environment for an audience, while also referencing components or the structure of the films presented, causing the spaces to become constituent components of the installations. This has continued with the presentation of my latest work in Sri Lanka. Using the grounds of Sunbeach Hotel in Hikkaduwa I set up an outdoor cinema for the audience to sit and experience the work. Previously many of my moving image installations have been structured in a non-linear way, in part due to the particular qualities and contexts of exhibiting in gallery spaces. This piece was presented in an unconventional art environment and needed certain criteria to be put in place to create an installation space that continued to feed information involved within the work to the audience.

Installation view of 'The Other Kwai' 2013

When confronted by moving image art in the cavernous spaces of contemporary visual art galleries and museums the work has regularly been place on a continuous loop, forcing the actions to repeat once completed and without break. This is a way of making the work viewable to as many people wondering around the building throughout the day as possible but (unless the films are incredibly short or focus on repetition) can destroy the narrative structure of many of these works, leaving the audience to be more concerned with wondering where in the film they have stumbled into (Beginning middle or end) then the actual content they are viewing. This has seen a rise in artists films either being non-linear where the audience participate within an environment where they edit their own film from the images and sequences projected or by having set times for the films to start, giving that control of accessing the work in the correct linear order the artists intended it to be viewed (This curatorial decision making was heavily visible in the exhibiting dynamics of last year’s Turner Prize). The outdoor cinema area I constructed acted as a formal space for viewing cinematic work and rather than be a space that was open to the coming and going of various people, was rigidly structured in reference to conventional cinema spaces by applying a start time for the film with a single showing to reinforce the linear composition of the work.

Still from Bridge on the River Kwai

In an earlier blog post I mentioned my fascination at watching and filming a local man fixing the caning on a chair. This footage has become an important part of my film and weaves throughout its duration, creating associations with the intricate design of the bridge, transient qualities of the material and laying of new histories within the story of the Kitulgala. These chair cane seats also seem part of the very fabric of Sri Lankan society, appearing in local villager’s homes, hotels, museums, as well as during the Sri Lankan scenes of ‘The Bridge on the River Kwai’ (1957) and I thought it was crucial that seats featuring chair caning where used for the outdoor cinema space. A subtle reference that made the images on the screen tangible and helped to create an immersive viewing environment.

Still from Bridge on The River Kwai (1957)

I thought I’d end this post with a link to mini featurette on the making of ‘The Bridge on the River Kwai’ made in 1957. An interesting but brief insight into the production of the set.

The Bridge on the River Kwai Mini Featurette 1957

Enjoy!

Kit