​

In Get Close to Opera, the partners in most cases were delightful, experienced, concerned and delivered interesting and thoughtful work. We all had our roles and we all took our tasks seriously, whether web site design, research, translation, delivering training for the residential week, actively participating in the social media plans, etc.,  We all did far more work than we had been paid for, as is usual with any project, and, in particular, if you are not on a salary. The commitment was obvious. 
 
There was a good mixture of organisations, RESEO, the International Association for Higher Education in Opera and Ballet, the University of Patras, Greece, ESART, in Spain , The European Network of Migrant Women, highly skilled and our moral compass and us, for the UK, the opera company. Each of us had a project manager and we were lucky enough to work with Foteini Galanopoulou, highly skilled in delivering EU projects and with a deep knowledge of inclusion and access in the arts.

In any EU funded project I think it must be very difficult to deliver a piece of work where everyone agrees about everything, we certainly didn’t, but there have been many benefits and learning from the various topics being researched.

In the vitally important context of dealing with Nationalism and Fascism across Europe and really making a difference to all our millions of new citizens, we probably didn’t move mountains. On the other hand we changed some minds, we had important discussions and presentations in large opera houses and small towns and their village halls. We had an opportunity to create small projects reflective of our learning and we did this one…Conversation on Portland which seems to have resonated with a  lot of people.  

We were able to invite three people to work with us in Matera during a training week in February 2019. Opera Circus were lucky enough to be able to invite Nadine Benjamin, Ruth Mariner and Katherine Harri.  They were a vital part of the Conversation on Portland pilot project.
 
We all agreed that GOOD COMMUNICATION is vital always and every time and that it’s not easy. The other is respecting everyone equally and acknowledging everyone's contribution, no matter how small. Creating good and thoughtful partnerships is always hard and there is never enough time to develop these properly. There should be time to talk about values and principles and do we share them, the use of language and the differences, social behaviour, work practice. There is usually the assumption that you put people into a room and somehow we all innately get on and know how to work with each other.  It has made us consider a partnership development process prior to any project, however short, to ensure that there is an understanding before we start and that there are points during a project where we can question and discuss together. It can't just be about outputs and outcomes, data and timelines. 
 
I learnt a great deal from watching Paolo Montemurro from Matera Hub and his incredibly diplomatic and patient project management.

We all were given the gift of being able to visit each other’s cities and countries, Patras in Greece, wonderful food and a culture of deep hospitality, Brussels, learning to love this city, its different quarters and its Turkish food, being able to hold our heads up in tiny Bridport with the support of a local landowners beautiful accommodation and the Jurassic Coast on a sunny early September evening. We had Matera. If you have never been you should go once in your life. Italy is so richly full of beauty and cultural sites but Matera’s strangeness and darkness sits with you and you can believe the Gods exist deep inside their caves. It is unique and a privilege to have been able to work in such an ancient environment.

The great and unique thing about Erasmus + KA2 Partnership funding (GCTO) is that you can actually pay people, unlike KA1 which only pays expenses for travel, accommodation etc, but no fees. KA2 you can get paid, not massively by UK standards, but very welcome in a world where less and less funders want to pay the people who actually organise the work, as if somehow it gets done by magic.

I didn’t realise quite how “freelance” the UK is and how much of an anathema this is to the EU. I don’t think they quite get it.  As much as I love them and don’t want to leave, much of the Erasmus work we have delivered since 2012 as had sometimes been managed as volunteers.  It’s not always possible to find match funding. You also learn the hard way the difference between our financial reporting, rigorous enough as it is, and the gruesome task that is the EU’s requirements.  
 
We, apparently are going to carry on being able to access some EU funds till December 2020 and possibly beyond.

The number of organisations in the UK who have applied for these funds over the years has been very small in comparison to the hoards in Europe who apply.  We estimate in 10 years we have raised around €500,000 (remember no fees and no core funding is included in this sum, only accommodation, travel, visas, and some funding for those who need special assistance to participate) from a mixture of Creative Europe, Youth in Action and Erasmus funding. Most of it has gone to give around 1600 young people from 14 partners (UK (lots from Dorset and London, Manchester, Blackburn, Brighton +), Italy, Georgia, Portugal, Serbia, Romania, Kosovo, Denmark, Bosnia and Herzegovina) the chance to travel and experience other cultures, learn about themselves and their creativity, access a huge number of opportunities from higher education, finding work, learning new skills and responsibilities, finding support and long term mentorship, participating in youth activism, to being part of an international network of friends - even a marriage! 
 
Nothing worthwhile is easy but while we still can, we encourage you to apply for some funding.

Take a look . There are lots of places to seek advice.

ERASMUS + FUNDING 
Next deadlines April and October 2020
 
As we leave this flawed union, I feel my heart going darker and heavier. I am a European, I grew up deeply imbued with European Culture, my Culture, and it seems to me that taking it away is a criminal act.  I can only hope I live long enough to see the new and far more socially active and caring next generations, demanding to return.  
 
Below are a few of the many hundreds of photographs taken, mostly by Robert Golden (you will be able to tell the difference), of some moments from the many projects we have created with artists, organisers, carers, young people and their communities since 2004 both in the UK and in Europe. They are in no particular date order. At one point we will try and give each a title but don't have the time at the moment. All the projects have been mostly funded by the EU grants for young people's activities with often additional support from Arts Council England and others, including regular crowdfunding. So many people involved, so much skill and creativity, so much love and willingness to work towards the change we must have. Memories, memories!

There have been many names for the projects, Wake Up!, Simply Human, Like a Film in my Mind and
The Complete Freedom of Truth.

The latest project along with Changing the Story is Izazov! and in 2020, the next Erasmus + funded project is called, Freedom is Participation in Power - Building Youth Activism. (TBC)
​
More information soon

Tina Ellen Lee Artistic
​Director and Creative Producer 
​Opera Circus
​19th January 2020

Today on the 4th November is the first day of rehearsals for Silent City. The sun is shining in this beautiful city as we take a small bus to the dance studio and disco which will be our creative home for one month.

Performances are on the 29th and 30th November and 1st December. See more details below.

Silent City is a dream for Vania Cauzillo and Alessandra Maltempo, the two directors of the artistic collective and lead Production Company, Compagnie Teatrale L'Albero in Matera.  A company that creates film, music theatre and arts education programmes. 

​James Bonas, Director with Tina Ellen Lee, Producer and Artistic Director of Opera Circus have brought together a team of artists from the UK and Belgium with one of Italy’s great production managers, Paolo Belluso to collaborate with the Italian artists and others to create the first community opera in this region, Silent City.

Nigel Osborne is the composer and music mediator with the community, Ubah Cristina Ali Farah, the Librettist, Cydney Uffindell-Phillips the Choreographer and Movement Director. Rob Casey is Lighting Designer and Bruno Soriato the Set Designer. Andrea Ciommiento, the fine dramaturg and Gino Marangi, the artist/facilitator in particular working with the children. Zakk Hein is creating video projections for the opera.

​We are all lucky to be working with the superb innovative orchestra from Bologna, Orchestra Senza Spine with the composer and conductor Tommaso Ussardi, who is the music director and conductor for Silent City.
 
Open Design School, a project of Matera 2019 are building the platforms and set parts with design by Bruno Sartori who is responsible for all the design elements.
 
Special mention must be made of Professor Fabrizio Festa and his team from the Conservatorio in Matera who have worked with Nigel Osborne and Peter Nelson in a collaboration between Matera and Edinburgh, to create the electronic soundscape and score.  This was made possible with support and funding from Opera Circus, Nigel Osborne with the University of Edinburgh and the Italian Institute of Culture in Edinburgh.
 
There will be a complete list of all those who have participated in building this Italian/UK collaboration shortly and to all those who have made this dream a reality. 

​At the heart of the work is the community, the children and older people in Matera who have shared their stories and melodies and will be performing alongside the singers, dancers and actors.  Without them, this community opera would have no meaning and we thank them for all their work in helping and advising us during the process.

The performance space is being created in a disco - which is currently for sale and someone should buy it and turn it into an off-fringe receiving venue for Basilicata and Southern Italy before it becomes storage space.  

HOW TO GET TO MATERA AND SEE THE OPERA:

​More information about silent City on the Matera2019 programme.
Tickets and times of performances will be found on this link from November 12th
​
SILENT CITY
 
Ryanair flies directly from Stansted
Alitalia flies via other Italian airports.
You can fly to Naples and travel the rest of the way by bus, which, from personal experience, isn't that reliable
There is no train to Matera.
The buses from Bari to Matera and return are wonderful and only €3.
https://getbybus.com/en/bus-bari-airport-to-matera
 
Plenty of good and reasonable accommodation – even now.

Buy your Matera 2019 passport from here
and this will give you access to all sorts of things in the city including the opera and bus travel for only €19.
 
https://www.matera-basilicata2019.it/en/ticket/terms-and-conditions-for-matera-2019-passport.html
 
The food and wine are of course, wonderful.
https://discoverbasilicata.com/about-basilicata/fooddrink/
 
If you have never been to Matera come and see the opera and spend a weekend in this staggeringly beautiful city.

All Photographs by Robert Golden.

​More information soon.

 The TCFT Team (as part of Opera Circus) are producing 4 days of art, conversation, forum theatre and the first International Youth Short Film Festival in Bridport.  
​There will be more information shortly on the TCFT and Opera Circus web sites/social media.

Led by young people from the UK and Bosnia.

29th October
A day of conversation and activism for Human Rights and the Rights Respecting programme for Children and the Town through Forum Theatre, Spoken Word, Photography/film and Painting. 10 - 5 Bridport Town Hall with David Powell, Rosie Russell, River, Rory Newbery, Shaniqua Benjamin, Ricky Romain and others. TBA.
Maximum number 30 ages 16 - 30

30th October International Young People's Short Film Festival
Creating Bridport's first international youth film festival at The Electric Palace with workshops including Robert Golden and film screenings with short films from the Changing the Story project Izazov! and others.

The Forum Theatre and other work continues at the Town Hall. Forum Theatre led by River Associate Trained Artist with Cardboard Citizens.

In the evening we have a screening of Don't be Nice with Q and A as part of the Spoken Word workshops led by Shaniqua Benjamin.  There will be a donation of £5 to help cover costs including popcorn. This is a massive gift to TCFT by the film makers as the film has only been shown in the UK at Rich Mix. It is a multi award winner in the USA and a complete inspiration.
Door and Bar open at 6pm
Screenings and presentations from 7pm - 9.30pm
Electric Palace
​
31st October
The creative work continues.

1st November Cabaret and Conversation and Supper
6.30 for 7.00 pm - 9pm in Bridport's Historic Town Hall.
A sharing of the week's work and conversation with supper.
This is for everyone and will include Forum Theatre, Music, Painting, Spoken Word and much else. 
Access available through the lift on the ground floor - tourist board entrance

With special thanks to Symondsbury Manor, Electric Palace, Bridport Town Council, Dorset Community Foundation
​with Dorset Performing Arts Fund and many others. 
Full list of all contributions and thanks to follow shortly.

What happens next?

Please put the dates in your diary.
Events Booking Form for the Film Festival and Cabaret Night opens on 10 October.
Crowdfunding Campaign starts on 10 October 
London events information updated by 12 October








​

​This is the second year of our work on the Erasmus + partnership project Get Close to Opera, run by the highly efficient Matera Hub in the region of Basilicata Italy.  Excellent partners in European Network of Migrant Women, ESART, RESEO, University of Patras, Compagnie Teatrale L’Albero and us, where we have met in Brussels, Patras, Greece and Matera, Italy. 
​
We have explored for nearly two years the enigma that is informal arts education and its use as probably the most important tool we have to develop communication between humanity and our widely differing cultures.
 
GCTO is a research project, an experiment and a way of exploring informal arts education, in all its variety, including using Howard Gardener’s Multiple Intelligence Theory.  A fascinating look at how each human being has multiple ways of learning; also see Sir Ken Robinson. If we recognise and respond in 
more sensitive ways to our different intelligences then education can be much richer and more satisfying, rather than the more formal and one size fits all approach that most learning systems still use. MIT has been around for several decades and there are now many other learning theories and tools to resource but it has been an thought-provoking exploration.
 
The project aims to start a community of people that rethink cultural buildings including opera houses as spaces of social innovation, inclusion, cultural exchange and learning, for everyone.  At the heart of this exploration is how do we find a way to share our cultures with the new citizens that are arriving in our countries and not insist that they are only included in our own EU-based values.

​After much discussion we decided to explore what we called, A Conversation on Portland in Dorset. A 2 day exploration of how to start an informal arts project, who with and how to make it as inclusive and democratic as possible. Where to start? Who is part of this conversation?  How to use the arts in the community, who leads, who decides and what can we achieve in the long term. How can working through the arts make deep changes in our society possible?
 
We were welcomed to Portland by the arts and cultural organisation, b-side, who run an biennial arts festival on the island and Friends of b-side, volunteers and residents who support the work of the organisation.
 
Portland was  chosen not just because of its poverty or natural history/landscape, but because b-side already extend the philosophy and practice of participation and co-creation into their work as an arts organisation and are truly embedded and committed to the island as well as b-side’s openness to bringing people from the local community into the organisation. Invaluable contributions were given by Friends of b-side, volunteers on the island who help support the festival.  We would like to thank Tanja, Gina, Charlie, Hazel, Sally and Molly for their involvement, support and welcome.
 
Portland has many challenges including over 40% of its children are below the poverty line. At the same time it is a place of wild beauty and legendary paths, a towering Victorian prison and soaring stones and sculptures.

We invited a rich mixture of people and were delighted to welcome so many from Dorset Council, The Arts Development Company, the British Red Cross, The Shire Hall, Museum of Justice, The Centre for Seldom Heard Voices at Bournemouth University, Hearts and Dreams, an organisation working with young refugees and displaced people, Def-Explorer, Sir John Colfox School and St. Mary’s Primary School, several artists, young producers and even an Erasmus intern from Nimes in France.

The work was underpinned by the participation of Opera Circus in the Structured Dialogue process as part of Voices of Culture in Brussels in 2018. Social inclusion in 2018 https://voicesofculture.eu/2019/05/16/social-inclusion-partnering-with-other-sectors-2/and then reading the report of Dialogue on the Inclusion of Refugees and Migrants through Culture in 2015 https://voicesofculture.eu/2019/05/16/the-inclusion-of-refugees-migrants-through-culture-2/

We learnt a great deal from Foteini Galanopoulou about disability awareness, inclusive practices and creating barrier-free processes. An arts and cultural project manager, and access advisor, working in disability-led art companies and with independent disabled artists as a freelance producer. (http://www.foteinig.net/about-2/)
She delivered the session on accessibility during the training week in Matera, Italy (February 2019), but sadly couldn’t be with us in Portland.
More information about the training week earlier this year can be found on the GCTO web site.  ​

We will be writing a full report and sharing our conversations and views on co-creation and community involvement.

 A brief summary of the two days conversation. Thank you to Molly Scarborough for the notes. We are working on a more detailed report to share with everyone.
 
SUMMARY OF 31ST JULY (AS TOLD ON 1ST AUGUST) 

• Co-creation needs to be fully inclusive. It needs to include people in the conversation before the project is pitched / decided. 
• Conversations need to happen around barriers with participants before the project has started 
• Allow participants to have more control / power in the project 
• Go to where people are. Organisations should step outside of their comfort zone.
• Sometimes projects come and go – this isn’t helpful. Leaving doesn’t help anybody. Projects need to be sustained and have sustained contact with participants / co-creators. Permanent residence. 

Some identified issues / conversation points on the Island: 

• A lot of zero-hour contracts and seasonal jobs 
• Reliance on food banks in the area
• Prisons 
• The education system isn’t up to par 

How can the arts be used to give people a voice or share stories?

• Portland is often overshadowed by Weymouth 
• The new council might give Portland more of a say 
• The community needs to come together to document the social history
• We need to collect and tell stories from now. Use story telling. 
• Create things people can relate and engage with 
• Open up conversations, always 
• We need to step outside of threatening buildings 
• The Spirit of Portland documents and tells the story of the old Portland (stone masonry & fishing) not the new and current 
• Weymouth & Portland should establish a stronger relationship as the borough is separated from the rest of Dorset. Funding stops at the ridgeway. We’re under the ridgeway. 
• Communities are able to create quality art (who says what is and isn’t quality art?) 
• How much is created for community? How much is created for tourism? Creation vs consumption 
• “The lights in Weymouth are for tourists. Not for the local communities or their quality of life 
• Town Council Consultations don’t work. The council doesn’t seem to listen. What can we do instead? 
• Communities need to know their place better - 
  “Know about your place better then you can be filled with pride” 
• “The stories never stop coming and they never remain the same” 

1st AUGUST
When do organisations need to step aside? 
There needs to be opportunity for audience to reflect openly. Not answering prescribed questions. 
Organisations need to allow more time to reflect and adapt. Evaluation of projects could lead to doing it differently – like collaborations. Organisations shouldn’t step aside they should be persistent. Organisations should continue to utilise their contacts and resources but ensure they are working in a way that is helpful to participants / co-creators. 
Organisations / artists need to mindful and not infiltrate a world that they shouldn’t. Be mindful and aware of your own intentions. 
Be willing to listen, learn and understand.
Up/increase-mentorship 
How do organisations create sustained projects that do not overwork or exploit the participants? 
How do arts organisations need to go outside their comfort zone / location to engage new people?

• Do the non-involved want to be found? 
• Know boundaries 
• Don’t group people together and label them as ‘bame’ etc… allow people to participate because of themselves, their interests, not their labels 
• Let individuals tell their own story 
• Allow individuals to have their own experience, recognise it and celebrate it 

Creative thinking leads you to a new lifestyle. Once you’ve done it once, you know it is possible. You can do it again. 
SUMMARY OF CONVERSATIONS
Challenges = poverty, accessibility (buses etc), education 
Trust. Need to take time to understand a community. Work with them and build trust. 
Using arts as a vehicle for communication. 
Include people right from the beginning. 

We are ​working in a light white space in the Gymnasium (academic high school) of Sarajevo’s School of Science and Technology and linked to their Film Academy.  The weather has been stifling and airless. Yesterday the thunderstorm broke the atmosphere and today it’s fresher, although still hot.
 
In the room there are 14 of us, mostly. 7 people making short documentaries, Robert Golden film maker and photographer sharing his learning and experience; Tina Ellen Lee, artistic director of Opera Circus and managing the project; Tiffany Fairey and Henry Redwood participating and researching the process with King's College University, London and the Changing the Story project.  
 
Two of the young people are part of the digital and communications team, Rory Newbery and Francesco Pipparelli.
Two more, based in Bucharest, Irina Maria Ganescu, designer and photographer and Marko Stankovic, web designer.
Our project manager is Melisa H. Mehmedovic, with Lamia Sabic, film maker and mentor. Lamia is making a documentary with her own personal take on the working process.
 
The people making the documentaries range in age from 19 – 27 and come from a variety of backgrounds and educations…degrees in International Economics, one applying to study a degree in Philosophy, English and English Literature, others have completed degrees in Dramaturgy, Economics and Social Sciences, Film Studies, Politics, Arabic Studies and Communications, some with experiences and skills in theatre and other art forms.

We are on the 4th day and Robert isn’t teaching film technique as such, but using mind-mapping; why be a film-maker? The intersection between art and social commitment; why make a film; editing and eventually how to get people to see your film. 

We have been lucky to have Bojan Mijatovic from the Film Academy talking about cameras and some basic rules of film making.  Nikola Simic, an activist for the LGBTQ movement in BiH and later in the week Lejla Dedic, Senior Producer from Al Jazeera, BiH. 
 
There’s a new name for this work together, Izazov! Now the project is owned more by equally by everyone in the room and not just a title quickly thought up for a grant application.   In English this word means Dare, Challenge. Provocation or Provoke....the subtitle Change is a Creative Moment.
Now it feels a bit more real.
 
What’s always exciting is to create a more open working space of trust, kindness and freedom and watching those creative moments emerge. Change begins to happen.

More information on Changing the Story can be found here.  More information soon. Photos: Robert Golden

With thanks to partners Sarajevo School of Science and Technology and Film Academy, King's College, Leeds University, Arts and Humanities Research Council, Humanity in Action, Global Challenge Research Fund, The Complete Freedom of Truth through Opera Circus. 

Changing The Story is a four-year international, multi-disciplinary project which supports the building of inclusive civil societies with, and for, young people in 5 post-conflict countries. It is a collaborative project between universities, INGOs, artists, grassroots civil society organisations and young people across the world. The countries are South Africa, Rwanda, Columbia, Cambodia and Kosovo.

Opera Circus was invited as artists in residence to take part in the first series of workshops in Prishtina in September 2018. This was followed by a successful bid to develop the practical part of a youth arts research project in Bosnia and Herzegovina. This will involve working with a group of young film makers from across BiH with the generous support of the Film Academy of the Sarajevo School of Science and Technology through Dr. Jasmin Hasic alongside Dr. Tiffany Fairey of the University of Arts, London and Dr. Henry Redwood of Kings College, London.

​Robert Golden will be leading the practical training through the understanding of story telling in film as well as contributing to some of the learning around activism.  Robert is not only an international photographer and film maker but has worked throughout his life against racism and injustice.  Robert's work will be seen at the Black Cultural Archives Gallery in Brixton, London from June 21st as part of the Commemoration of the Windrush Generation and their important contribution to the development of the UK after the Second World War.

​TCFT youth leaders are developing the communication strategy (Francesco Pipparelli) and the web design and social media content (Marko Stankovic and Irena Maria Ganescu.)

Melisa Mehmedovic is the Project Leader and Lamia Sabic will be assisting Robert as a young film maker and mentor throughout the whole process. Both will be available to contact via Slack shortly.

​Dr Jasmin Hasic also leads the NGO Humanity in Action  which is an international educational organisation.
They aim to educate, inspire and connect a global network of students, young professionals and established leaders committed to promoting human rights, diversity and active citizenship—in their own communities and around the world.

Opera Circus has raised funding from the Heritage Lottery Fund for this collaborative project reflecting on WW1 through song, music, film and dance.  We are waiting for our permission to start to arrive and then the project will run from this month to March 2019.  Bridport Youth Dance, Home in Bridport, David Powell, Bridport Town Council, Robert Golden, Bridport Arts Centre are working together towards a performance at BAC on 4th November, 10th November and then dance from Bridport Youth Dance in March 2019. More information soon.  Thanks to Bridport Town Council for their support.

For the last 5 months Opera Circus has been involved in a process called Structured Dialogue through the Voices of Culture project led by The Goethe Institute in Brussels and the European Commission.  The question really was how can the EU combat the Nationalism and Fascism that is rising in Europe and can the arts and culture help? They also wanted to know what a variety of organisations thought about this question from those that represented the disabled, worked in prisons and hospitals, the arts, employment and academia.  The document is only a work in progress of course but the discussions were good, the commitment from the editorial team profound and the result, useful.  It doesn't have all the answers but is a good addition to the challenges that are at present not being deal with in particular all the migrant people who are looking for new countries to live in.  Photograph: Robert Golden

The photograph describes the many ages of the people who take part in the TCFT process, the care of mentoring and support of the young people by generous and experienced artists and the multiplicity of cultures with whom we work. You can see the photographic gallery and comments about this process with Glyndebourne, Crisis Classroom and Battle Festival here including the link to The Giufa Project web site.

The core partnership team are meeting at the beginning of October to talk about how the process can move forward, so more news soon.

​At the moment we are part of a very special company of people being hosted by Battle Abbey School in the grounds of the ruins of the glorious Battle Abbey in Battle, East Sussex. For those who aren’t aware, this is the site of the Battle of Hastings in 1066 where England lost to the French Norman army and our culture and language changed. 
 
Our project is called The Giufa Project, the roots of which are in The Complete Freedom of Truth programme and our work with the organisation Arrischianti in Sarteano, Italy in April 2017.  
 
Laura Fatini, writer and theatre director, had been exploring the character and stories of Giufa for over 4 years and the ideas came together whilst we were working as part of  one of the TCFT programmes funded by Erasmus, Arts Council England amongst others.  Music has been created by Sara Ross, composer from Lisbon, Portugal and a series of workshops, stories, performances have led to our ten days together.
 
Glyndebourne is a long established opera company set in the beautiful countryside around Lewes in Sussex, South England. Glyndebourne has a history of high quality participation and education work and two out of every three years the company commission a main stage opera for Glyndebourne Youth Opera and a Community Opera Commission as well as smaller scale works.

​Last year a new opera called Belongings was commissioned and produced by Glyndebourne, with music by the composer Lewis Murphy, a young artist in residence with Glyndebourne. The libretto was written by Laura Attridge.
​The opera explored the experiences of young people forced by war to flee their homes. At that time, in 2016, TCFT began looking at our concerns for young refugees and migrants and Lewis and Laura both joined the TCFT programme at Bournemouth University in Dorset and in Sarteano, Italy.
 
A partnership began with Glyndebourne,  Opera Circus, Arrischianti in Sarteano, Urban Playground Team, Project Art Works, Crisis Classroom, a charity built to provide education and learning for refugees as well as their hosts. and with a number of artists with great facilitation experience, those who had a great deal of TCFT experience and those who were new to the process. These include Lucy Bradley, Annis Joslin, Darren Abrahams, Omar Shahryar, Judith Coleman, Alister O’Loughlin, Laura Fatini, Cedoux Kadima, Tim Corrigan and Tom, Rosie Russell, Susan Bisatt and Robert Golden. The producing team is led by Chris Stones from Glyndebourne, Tina Ellen Lee from Opera Circus, Sally Lampitt from Battle Festival with support from Amanda Downes, Rory Newbery and many others. Thanks to Sosi, Dave, Amanda and James for the great food from  https://www.hohcharity.co.uk

​With the support of Battle Festival and the town, the school and Glyndebourne’s vision we are now in the school and town creating new artistic work, learning about each other’s cultures and lives and living in an environment of inclusion, equality and inspiration.
 
Other people keep joining us, youth leaders who have been with TCFT for many years and now help deliver these projects and their own, other artists and facilitators, our mentors and friends. 
 
On Saturday 25th, Urban Playground Team, led by Alister O’Loughlin, will be sharing some new work in progress as part of the Journey’s Dance Festival at 1pm and 2pm on Abbey Green in the middle of Battle. http://18hours.org.uk/journeys-2018/
 
On the 29th and 30th there are summer workshops for 9 – 13 year olds who will participate in the sharing of the work on the 30th.
https://battlefestival.co.uk/events/2018/the-giufa-project-summer-workshops-for-9-13-year-olds
 
On Thursday 30th August at around 5pm we will be sharing the work we have created over the 10 days we have been together in and around the town of Battle and in the Battle Abbey grounds themselves.  More information on this in the next few days.
 
On 20th October The Giufa Project will be shared again at Battle Abbey from 18.00 – 20.00.
 
A sharing of some of the work and experiences will also be held in Bridport, West Dorset on the 24th, 25th and 26th October, to be confirmed.
 
The Giufa/TCFT project will continue in 2019 so do keep an eye on any of our web sites and social media pages.
 
 All photographs and film on this project is by Robert Golden