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You are here: Home News & Features Feature Arts

Feature Arts

Oval house art club

More a family than a club. By Helena Argyle.

 The ‘We Are London Arts Club’ runs every Saturday after­noon for three hours at the Oval house Theatre in Kennington, South London. The club welcomes young people, 14-22 years old, from around the world to come down and be part of their ‘family’. The New Londoners popped down one Saturday to check it out.

Oval house Theatre stands proudly behind the Oval cricket ground and is a bustling hub of creativity and positivity. On a frosty Saturday afternoon we found Stella Barnes and her team putting together the final plan for the drama workshop that will take place within the next hour.

A sense of warmth and friendliness pervades as the team huddles together over tea and biscuits to discuss today’s agenda and welcomes the young performers as they arrive.

The enthusiasm of the club members is clear. Celestino from Equatorial New Guinea has attended the workshops pretty much since he arrived in London. With his sights set on becoming a film director, he has taken the opportunity to get involved with many of the short film projects that the com­pany runs, in addition to attending the Saturday workshops. Having secured a place on an apprenticeship scheme through the Oval house Theatre, he is now studying filmmaking at col­lege and is well on his way to achieving his dream.

Speaking to the young performers reveals a common theme in their experience of the club - that of ‘friendship’ and ‘family’. Soli, of Egyptian and Sudanese background, shyly admits that he has been attending the club for a few years. Stella overhears and engages in some friendly banter: “No, Soli, I have known you for ten years. I’ve known you since you were a little boy.” Soli rolls his eyes and smiles. Everyone laughs. Warm greetings are exchanged and it is evident that some students and teachers have known each other for many years, however even those who are here for the first time are warmly welcomed and treated kindly.

The performers stand in the typical dramatic circle taking turns at stepping into the circle and ‘acting’ how they feel. No words, no explanations, just the freedom to express emotion through their bodies. The rest of the group joins in, interpret­ing and developing the theme. Immediately the potential for performance as means of social change become apparent. Many of the young people attending have troubled histories. Workshops, such as the ones run by Stella, allow them to put their pasts behind them and move forward.


John, another staff member, is keen to share his point of view. ”I have worked with Stella for twelve years now, and the work we do is so important to enriching these children’s lives. Some of them have attended and afterwards told me that that was the first time they laughed. The ability to express themselves through drama is so important to these children.”

The family atmosphere continues to the end of the afternoon when the group share a meal together. Witnessing the warm caring nature of the group, it is clear why so many of these kids come back to the We Are London Arts Club each week.

With roots back to the 1930’s Oval house has been at the forefront of cutting edge theatre, focusing on what its artis­tic policy describes as the ‘antiheroes and underdogs’. With a string of political and socially conscious plays under its belt, it also strives to seek artistic participation from a wide range of willing performers.


The art of social change

Pan Intercultural Arts is an art organisation working with London’s deprived communities to encourage integration, build confidence, communication and transferable skills for future training and employment

 The Synergy Project uses a range of art forms to give deprived young people a voice on society and the cuts. It also provides an opportunity for young people at risk of crime and anti-social behaviour to focus on something positive for their futures, learning technical and transferable skills for employment and training.

For eight years, Pan Intercultural Arts has worked with London’s deprived communities as well as with young refugees and asylum seekers using theatre, song, music, photography, dance, film, creative writing and visual arts to encourage integration, build confidence, communication and transferable skills for future training and employment.
Their latest project - the Synergy Integration Project - engages young people who live in the most deprived areas of Camden using urban music, dance, graffiti art, drama and film to explore current issues that affect young people.

The project works in partnership with youth organisations and youth centres in the borough targeting young offenders, care leavers, refugees and asylum seekers and those not in education, employment or training (NEET).

Separate groups are then brought together to work towards an interactive multi-arts event at Camden’s Roundhouse to give young people a voice on issues that affect them.

“Over the past 2 years participants have spoken a lot about the divide between young people and the Police in London. There is a lot of frustration on the street but also so much talent. Synergy offers the opportunity to use that talent to find positive solutions whilst developing skills and aspirations for a better future” says Laura Cowan, the project manager of Synergy.

Fortune is a theatre group for young refugees and asylum-seekers aged 16 – 26. The group provides along with psychotherapists and social workers,

Pan offers group support. Using voice work, improvisation, expression, movement and storytelling exercise, we can equip participants with the tools they need in such challenging situations”, explains John Martin, Artistic Director of Pan Intercultural Arts.

Pan’s council grant for office rental has been cut. As social and youth services get cut, young people need projects like Pan intercultural Arts to provide the personal, social and creative development that is already scarce for deprived young people in the city. Despite the cuts, Pan’s projects are expanding to meet the needs of many deprived young people. Laura Cowan says, “We know it makes a lasting difference to the young people’s lives.”

 “I was quite aggressive in my speaking. I was a lot louder… it helped me to, like, listen to other people’s opinions. It’s kinda shown me what other people’s views of my aggressiveness is like…and I’m thinking, wow, is that how I look? Wow, maybe I should just stop.” Aaliyah grant

“When I came first to this country I had no real family, I couldn’t speak English, I couldn’t communicate with people I had no confidence. Since I joined the Fortune group, I shared my ideas, my experience of my life with them. They were happy to help me with all these kind of things. Pan is a family to me, I’m really excited to be with the group and enjoy the moment.” Dieuxmerci Kimpembe

“Pan gives opportunities to people my age that they wouldn’t usually get” Ben Mansilla-Campbell

 

Is London still calling?


The Manchester band, WU LYF, debuts in the capital: “Four Kids Looking for a Place to Call Home”. By Massimiliano Mariantoni


Cemented windows. During the last five minutes, I’ve been observing a street behind Elephant and Castle tube station, questioning to myself whether anyone has ever called it home. The buildings are riddled with cemented windows and look quite barren. My thoughts quickly turn back to reality when the Corsica Studios doors open behind me. Tonight WU LYF (World United Lucifer Youth Foundation) are playing their London debut, (3 February 2011), and I’ve got a feeling this will be an echo night.

Open frontiers. I remember, it was January 2008 when (after receiving my degree) I moved from Rome to London. At university I had been studying the music business, and I thought London would be the perfect city to give me the tools to further my knowledge. Honestly, I was addicted to the British culture, and confident that I could find a place there, where my ideas would be shared, and not dismissed. Where I am from, some would say that music is an art “owned” by the industry, and its values become lost in entertainment. People outside of the industry are often excluded. I was looking for the music of the people- notes and melodies coming from the street, and that is where our tale begins.

London calling. WU LYF may have passed through London, but they seem to have been rejected by the media, being criticized because they are seen as hostile to the “system”. Currently, they’re travelling around Europe and the USA, supporting migrant friendly policies, and looking for a place to call home. Of course, you can object, arguing that pop music is not the best dimension in which to debate the migrant issue of the post-modern era. However, I personally believe that Londoners should consider this music as an extension of realpolitik, and maybe those cemented windows should be a home to those in need one more, instead of a barren building.  

Once inside. I’m diving in the WU LYF dimension. The hall is dark and outrageous films, such as “The gig is 18+,” are being projected on the wall in front of the bar. A photography collage by Jonathan Flanders (another son of the foundation) enhances the stage area, catching the attention of the audience, as they wait for the new Manchester band. This is more like a “happening” than a gig!

Music speech. “LYF” and “Lucifer Calling” are opening the gig, but when WU LYF arrives onstage, the audience is succumbed by the latest sound effects and music. Ellery, Jeau, Lung, and Evans are surfing the same wave. In their notes, it is easy to pick out influences coming from all different genres; “post-punk” roots smoothly blend with blues melodies, as well as the “new sound.”

Everybody around me is becoming enlightened. My hypnotic status is tossed away by “Concrete Gold” and “Heavy Pop”; the web-leaked tracks that are defining the band as a “hip-band.” I take a breath. To get away any kind of bias I reset my approach. Only instinctive perceptions are now ferrying me over towards gig’s end. Getting out the place, the shouted words sung by Ellery begin to resound in my head. Historically, when people have been alienated by the times, shouting has seemed to be the only way to be heard. Musicians like Joe Cocker, Janis Joplin, or later, the Sex Pistols, have all shouted their pains. WU LYF are shouting the pains of our times, and heavy- pop is the genre they call it.

Pop culture. To think music as an item, has made every song, album, or band into a barcode. Listening to music is growing distant from being a cultural experience, and becoming closer to another outlet for capitalism. Today, the music industry is a marketing machine that survives only by media and network recognition. When WU LYF arose as a non-profit organization, therefore, the system did not embrace them.

The band formed one year ago when, live from An Outlet, four “kids” from the Lucifer Youth Foundation (LYF - established in 1998) transformed their philosophy in music. Now more than 500 “young minds” are fighting what they called pop-apocalypse. Even though the band music has fascinated media and talent scouts, LYF remains unsigned. This is the only way to keep cultural independence and the “unconditioned truth.” I think, in order to get this credo universal, they need to fight the system from inside, and – maybe –  the forthcoming self-produced album "Go Tell Fire"(13th June 2011), released worldwide by LYF Recording, would be the answer.

 

Established in 1998, The Lucifer Youth Foundation is a non-for-profit organization anchored to the concrete truths of unconditioned youth. The LYF encompases a selection of disciplines including petty crime, détourned design, dolla talk, busting heads, cutting film, scripting-ill literature and playing heavy (pop)
www.wulyf.org

Environmental superhero comes to Camden

final pan photoFor the last three months, Pan Intercultural Arts’ young refugee group and young people from the Bourne Estate in Camden have been working with Cartoonist Steven Merchant to create Eco Thunder Kid – The Cartoon.

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