Tuesday 30th November 2010
As we are pitching our video on Tuesday 7th then I thought these tips would come in handy :)
Rules for a good pitch,
Eye Contact- Always look your audience in the eye! This makes your pitch more professional and formal.
Confidence- Have confidence and don't be shy. If you have confidence you will be able to use eye contact.
Rehearse- If there's time! Don't be under rehearsed. Make sure you are well prepared. Make sure you know when everybody is speaking and what everybody is doing.
Taster- Give your audience tasters of your video. Give them snippets of information from your video but not all, to make them want more and be more intrigued.
Quotes- Use quotes from teachers, the public or even somebody famous found in a book or on the Internet. This makes the idea of your video seem realer.
Facts, Figures and statistics- Include some of these when giving your pitch as it makes you sound more professional and makes it seem like you have researched this evidence well.
Audience Participation- Involve your audience! Ask them questions, there opinion and anything else. If you include them then they feel like they are part of your video and it makes them more intrigued.
DON'T LIE!- Its alright when practicing pitching ideas to make something up but you cannot lie in the real thing! If you tell your audience there is something in your video when in fact there is not then they will not be impressed and make score you lower because of this.
Use props- If you use props that are related to your video, then this shows you have thought about it your pitch. You can even use props such as a video camera or show which editing software you used etc... Your audience will be intrigued to find out how your video was made and what processes you had to go through.
Tell them, don't be afraid- Tell your audience what you had issues with, tell them how much effort you put into this video and tell them of any problems with anything involved in making your video. If you don't then they may not consider you for winning because they may believe it was a walk in the park for you... Which it certainly was not!
If you use these tips then your pitch will certainly not fail!
Media
Creative Arts and Media Diploma
Wednesday, December 1, 2010
Saturday, November 6, 2010
The Creative Process of a make up artist
There are a lot more things than meets the eye about being a make-up artist. For example they also are in charge of the hair and wigs for the actor(s) too.
Wages:
Latest rates are as follows: £200 for a 10 hour day for junior make-up/hair assistant and £300 for make-up designer prosthetics. These rates are for peak-time drama television production and high budget feature films. Rates are negotiable and individuals who are well regarded in the industry are in great demand and are paid well above the rates listed. Low-budget feature and off-peak TV productions pay less because of budget constrictions. Commercials may be very lucrative - in excess of £400 per day for experienced artists. Fashion and editorial work ranges from £250 to £2,000 per day. Top make-up artists designing for fashion shows regularly earn over £3,000 per day (salary data collected may 2010). Many make-up artists initially work for free or for a small fee on low-budget productions or editorial shoots, to build up a record of published work and gain experience.
A typical working day includes long and unsocial hours. Shifts and weekend work are common. Working on a film or television project means a make-up artist is required to be on set before filming commences and to remain on set throughout filming in order to re-apply make-up. Advance fittings are required often. Working as part of a production team is integral to the role.
The environment varies from indoor dressing rooms to hot studios to freezing-cold outdoor locations. The work is physically demanding and requires great concentration. Most make-up artists carry around their own equipment.
The majority of make-up artists work on a self-employed/freelance basis. Freelancing is often an essential pre-requisite for the very limited number of permanent jobs. Professionals are contracted for projects, either directly or through an agent.
Potential employers will be located mainly in cities, particularly those with strong regional independent TV companies. Most opportunities are in the London area.
Travel within a working day, periodic relocation, absence from home at night and overseas work or travel is frequent. Make-up artists may travel overseas for film work on location.
Job description:
A make-up artist ensures that models, performers and presenters have suitable make-up and hairstyles before they appear in front of cameras or an audience. This may be in a variety of settings, including film, television, theatre, live music and photographic shoots.
Make-up artists interpret the make-up requirements of clients to produce both a creative and technically accurate visual representation. This may involve very basic make-up for a TV presenter through to more complex period make-up or special effects. The work involves creating images and characters through the medium of make-up, hairstyles and prosthetics in accordance with a brief.
Typical work activities:
Depending on the nature of the job, make-up artists work alone, as assistants to a more senior colleague or as part of a make-up design team.
Typical work activities include:
communicating with clients to clarify visual requirements;
production study: reading scripts to ascertain the materials and the look required, budget implications and identifying areas where research is required;
producing and sketching design ideas for hairstyles and make-up;
ensuring continuity in hair and make-up and liaising with other members of the design team to ensure the overall look/effect is consistent and coherent;
demonstrating and implementing a practical understanding of lighting, the photographic process, colours and the impact of special effects/make-up processes on the skin;
ensuring that appropriate action is taken to minimize unpleasant side effects from the use of specialist make-up/hairdressing techniques;
taking detailed notes and photographs of work, maintaining an up-to-date portfolio of work;
maintaining awareness of health and safety issues and legislation;
casting facial and body moulds and sculpting latex foam - known as prosthetics;
fitting and maintaining wigs, hairpieces and prosthetics;
hairdressing;
maintaining an up-to-date knowledge of available make-up and beauty products;
sourcing, budgeting and ordering materials and equipment from specialist suppliers;
time management - knowing how long a subject will take to be made-up;
Working quickly and accurately in time-pressured conditions.
Creative Process-
Step 1: Study Art and Design at, school, college or university,
Step 2: Take a one or two year course/ diploma. – Theatrical stage make up,
Film and television make up,
Step 3: Buy or make all of the equipment needed eg- Brushes, make-up, wigs,
Step 4: Work out the time era of the ongoing production,
Step 5: Research the hair and make-up from that time era,
Step 6: Look at the actors to determine whether they need a wig and look at the lighting arrangement to make sure the coloured lighting won’t effect the make-up or hair colour,
Step 7: Practice on the actor(s) to make sure the design works,
Step 8: Teach the actor(s) to do it themselves.
Voila, job done!
Monday, October 25, 2010
OffStage Choices
Friday 15th October,
Today Francesca and I got the train into Leeds to meet Miss Woffinden, our creative and media team and some other year 10 and 11s for the long anticipated, Offstage choices workshop at the West Yorkshire Playhouse. When we arrived we Sat down in the cafe area with Emily and Abi to wait for the others. While we were waiting a man called John came up to us and asked Abi to join him on stage for the introduction at the start of the day. Once everybody was together we started making our own name badges and we were given a folder full of exciting things for the day ahead of us. We then made our way to the Quarry theatre for the introduction with John. He had selected a certain student from each school that was there (about 5/6 schools) and was asking them individual questions about the school and what they thought about the theatre. Then we were assigned a team leader between two schools and followed them for a tour of the theatre. We went all around backstage, to the dressing room/ costume designing room and we even went into the set design room. Because The Playhouse is a producing theatre they make all there own stuff, including props, the script, consumes, set design etc.. where as theatres like The Alhambra and The Grand are receiving theatres which means the touring productions come and perform there but they don't make the productions themselves.
After this each school split so we weren't joined with another anymore and then we went across the road to the Special effects Make Up session with Jules Greenan. Imogen volunteered to be a model and so Jules started to make a bruise on Imogen's face using only red, pink and purple face paints. She explained to us how she has to research the make up and hair of the certain time era needed for the production. It was amazing to find out the different colours needed for different time era's or depending on the style of show. Francesca made mine a new bruise and so she used purple and red where as I made Francesca's bruise old and healing using reds and greens. I never thought you could make a bruise with different coloured face paints. Jules also told us how to make the bruise look swollen or raised by adding more make up around the outside of the bruising area and less in the middle or slightly off centre to make it seem lighter and raised up/ swollen. I didn't know that the actors have to do their own make-up and Jules only teaches them what to do for the performance. Also depending on the actors hair style/ length/ cut she sometimes has to make wigs for the time era of the performance. She said her job isn't the best paid but it is a massive part of the performance because the actor might act brilliantly but it looks nowhere as realistic without the right make up and hair styles. You can just imagine a 1500's play and the actors have modern day make up eg- lots of foundation and bronzer, concealer on their lips and modern day hair styles like Katy Perry's, Cheryl Cole's or even as drastic as Lady Gaga's! That would be an epic fail! I really enjoyed meeting Jules and learning just how much there is to do being a makeup artist.
After this we went to workshop number 2 where we met Jodie Marshall the playwright. We learnt the two key play writing rules. Make it interesting and Drama is conflict. Then we a go at finishing a short script of conflict about passing a glass of water. After this we made our own short play about a complaint with the magic lamp form Aladdin. This was very funny and everybody was very good at this.
For workshop 3 we moved onto the Sound workshop with Mary, Richard, Olly and Students from Leeds City College. Firstly my group- Seb, Imogen, Olly and me went to see Mary up at the top of the theatre in the sound booth. This was really fun and I got to play with some of the buttons and mics. Then we split and me and Seb went to two girls who were messing about with Cd's and apparently that is where they get most of their sound effects from and then they change it to make it their own. Once we had done this, we joined up with Imogen and Olly again and moved onto the task with Richard and Olly. This was really cool because we all had our own parts to play in this and I cannot remember what the other 3 did but I was the director and had to cue the actors (Leeds City College students) in and whilst they improvised I gave them stage directions and told them when to 'cut'. I really enjoyed directing. Then my group met up with the college students and we had to improvise whilst another group directed and helped Olly with the sound. At the end Olly linked each groups Market Street sound improvisations and it sounded just like a real market scene. Pretty Cool. :)
Then we met Joanna Loveday who is the Audience Engagement Officer at the West Yorkshire Playhouse and we spoke about marketing a show and we made spider diagrams as a group of 4. Our spider diagram was about New Media and how we could target audiences with New Media for the upcoming production Aladdin. We came up with some good ideas, Abi, Tomas, Francesca and I but others were rather random like cloning an army of genies!
After lunch we had the set design workshop with Barney George. We had to create either a piece of fruit and veg or a lamp for the market street signs in Aladdin. I made a little strawberry but it was nowhere as good as Seb's Olive! This wasn't my favourite workshop as I'm not that keen on art and design but I still enjoyed having a go.
Speed Dating, was really fun and I enjoyed meeting different people and asking them questions about anything I would wish to know with their jobs. I really liked the Assistant Director (I don't know his name), and I like the sound of his job.
Now it was the final session in the quarry theatre where three girls from Allerton Grangedid a short play and the College students did some improvisation and got us involved. A lot of physical theatre was involved and so Abi played the door bell and Tomas played the door!
Thank you so much to Jess Farmer and Miss Wofinden for making this amazing day possible. It was brilliant.
Today Francesca and I got the train into Leeds to meet Miss Woffinden, our creative and media team and some other year 10 and 11s for the long anticipated, Offstage choices workshop at the West Yorkshire Playhouse. When we arrived we Sat down in the cafe area with Emily and Abi to wait for the others. While we were waiting a man called John came up to us and asked Abi to join him on stage for the introduction at the start of the day. Once everybody was together we started making our own name badges and we were given a folder full of exciting things for the day ahead of us. We then made our way to the Quarry theatre for the introduction with John. He had selected a certain student from each school that was there (about 5/6 schools) and was asking them individual questions about the school and what they thought about the theatre. Then we were assigned a team leader between two schools and followed them for a tour of the theatre. We went all around backstage, to the dressing room/ costume designing room and we even went into the set design room. Because The Playhouse is a producing theatre they make all there own stuff, including props, the script, consumes, set design etc.. where as theatres like The Alhambra and The Grand are receiving theatres which means the touring productions come and perform there but they don't make the productions themselves.
After this each school split so we weren't joined with another anymore and then we went across the road to the Special effects Make Up session with Jules Greenan. Imogen volunteered to be a model and so Jules started to make a bruise on Imogen's face using only red, pink and purple face paints. She explained to us how she has to research the make up and hair of the certain time era needed for the production. It was amazing to find out the different colours needed for different time era's or depending on the style of show. Francesca made mine a new bruise and so she used purple and red where as I made Francesca's bruise old and healing using reds and greens. I never thought you could make a bruise with different coloured face paints. Jules also told us how to make the bruise look swollen or raised by adding more make up around the outside of the bruising area and less in the middle or slightly off centre to make it seem lighter and raised up/ swollen. I didn't know that the actors have to do their own make-up and Jules only teaches them what to do for the performance. Also depending on the actors hair style/ length/ cut she sometimes has to make wigs for the time era of the performance. She said her job isn't the best paid but it is a massive part of the performance because the actor might act brilliantly but it looks nowhere as realistic without the right make up and hair styles. You can just imagine a 1500's play and the actors have modern day make up eg- lots of foundation and bronzer, concealer on their lips and modern day hair styles like Katy Perry's, Cheryl Cole's or even as drastic as Lady Gaga's! That would be an epic fail! I really enjoyed meeting Jules and learning just how much there is to do being a makeup artist.
After this we went to workshop number 2 where we met Jodie Marshall the playwright. We learnt the two key play writing rules. Make it interesting and Drama is conflict. Then we a go at finishing a short script of conflict about passing a glass of water. After this we made our own short play about a complaint with the magic lamp form Aladdin. This was very funny and everybody was very good at this.
For workshop 3 we moved onto the Sound workshop with Mary, Richard, Olly and Students from Leeds City College. Firstly my group- Seb, Imogen, Olly and me went to see Mary up at the top of the theatre in the sound booth. This was really fun and I got to play with some of the buttons and mics. Then we split and me and Seb went to two girls who were messing about with Cd's and apparently that is where they get most of their sound effects from and then they change it to make it their own. Once we had done this, we joined up with Imogen and Olly again and moved onto the task with Richard and Olly. This was really cool because we all had our own parts to play in this and I cannot remember what the other 3 did but I was the director and had to cue the actors (Leeds City College students) in and whilst they improvised I gave them stage directions and told them when to 'cut'. I really enjoyed directing. Then my group met up with the college students and we had to improvise whilst another group directed and helped Olly with the sound. At the end Olly linked each groups Market Street sound improvisations and it sounded just like a real market scene. Pretty Cool. :)
Then we met Joanna Loveday who is the Audience Engagement Officer at the West Yorkshire Playhouse and we spoke about marketing a show and we made spider diagrams as a group of 4. Our spider diagram was about New Media and how we could target audiences with New Media for the upcoming production Aladdin. We came up with some good ideas, Abi, Tomas, Francesca and I but others were rather random like cloning an army of genies!
After lunch we had the set design workshop with Barney George. We had to create either a piece of fruit and veg or a lamp for the market street signs in Aladdin. I made a little strawberry but it was nowhere as good as Seb's Olive! This wasn't my favourite workshop as I'm not that keen on art and design but I still enjoyed having a go.
Speed Dating, was really fun and I enjoyed meeting different people and asking them questions about anything I would wish to know with their jobs. I really liked the Assistant Director (I don't know his name), and I like the sound of his job.
Now it was the final session in the quarry theatre where three girls from Allerton Grangedid a short play and the College students did some improvisation and got us involved. A lot of physical theatre was involved and so Abi played the door bell and Tomas played the door!
Thank you so much to Jess Farmer and Miss Wofinden for making this amazing day possible. It was brilliant.
Sunday, October 17, 2010
Rules Of The Blog.
*Needs to be checked- Spell checked,
Read aloud to self to make sure it makes sense,
*Dates and Names and Website,
*Detail, Set the context- 5W's- Who,
What,
Where,
Why,
When,
*Reference handouts,
*Write in chronological (time) order,
*Add quotes " ",
*Use teacher and pupil feedback,
*Correct grammar and English,
*Evaluation,
*Give examples.
All ten rules mentioned on here should be used in our blog every time we write a new post.
Read aloud to self to make sure it makes sense,
*Dates and Names and Website,
*Detail, Set the context- 5W's- Who,
What,
Where,
Why,
When,
*Reference handouts,
*Write in chronological (time) order,
*Add quotes " ",
*Use teacher and pupil feedback,
*Correct grammar and English,
*Evaluation,
*Give examples.
All ten rules mentioned on here should be used in our blog every time we write a new post.
Jessica Farmer- from The West Yorkshire Playhouse
Tuesday 12th October 2010.
Today in miss Woffindens lesson, in S11 we met Jessica Farmer, the educations officer at the West Yorkshire Playhouse, and we were interviewing her and organising things for our trip on Friday for the offstage choices workshop. We started by telling her our name and our recent experiences to do with Creative arts and Media. Then she asked us a few questions and told us the timetable for Friday which included some very exiting things for example: being a fly man, set and costume design, lighting and sound technician, and hair, costume and make-up design. I cant wait!
Once we were done we began to ask her our interviewing questions. Olly, Imogen, Seb and Courtney filmed (I think!) her and the questioner. These were our questions and the response:
Imogen- Do you enjoy your job and what does it entail?
Yes definitely. Its very varied. Every day is different. Some days I can be visiting schools, I could be in meetings, I could be running workshops/ sessions, I could be at my desk and others I could be planning days like Off Stage Choices. So its very different and very fun at the same time.
Frankie- How long have you worked at the Playhouse and what has been your favourite project to date?
I have been working there four and a half years. I started working free lance (for myself), and then the offer came up for a job part time, three days a week and so I took it and continued to work free lance until a five day a week position came up. My favourite project would probably be Connections which is involved with the national theatre.
Have you got any upcoming events/ projects?
yeah, There is Aladdin in the summer which is really theatrical and exciting so that should be fun. We also have a young theatre makers project, which pairs with schools and professional theatres which will be really interesting.
Beth- How do you connect with the different communities?
We have the Arts Development which is split into three groups, these being: Creative education (which is what I do), in schools and universities etc..., Company Performance, who basically go into schools and perform productions and Clubs, these are mainly aimed at the elderly and people with learning disabilities.
How has technology influenced your work?
Massively. In the theatre in general. We also have a website which have you tube, facebook, flickr and twitter links to it.
Emily- What creative process do you go through when establishing a new project?
Everybody is involved because everybody is a creative manager. We decide what will work practically and artistically and what will encourage and persuade people to come.
How do you decide what it is going to involve?
Well we have connections with the different productions that are on and they help us decide. We sometimes start from scratch but others we build on an already written plays. Sometimes we get requests from schools and frequent visitors and expand from there.
Abi- What began your interest into the theatre and what training did you have to go through?
Well Ive always loved creative arts and since I was about 7 years old I was involved in a local amateur dramatics club. I wanted to outreach to young people and I took my A level in Theatre studies. I also took a masters degree and part of this was based 'On Location' in very non traditional production places for example I worked in a prison running workshops and I worked with people with learning disabilities helping them to reach their creativeness, and so on...I was working free lance when the job at the playhouse came about, I took it and they were pleased with my training but I didn't really need the masters degree to get the job but it did look good on my CV. When I got he job I had to have the usual health and safety and child protection training.
Tomas- What merchandise do you sell and how does this affect you income? How do you promote it?
We use lots of different merchandise and I suppose you could count the restaurant and bar as merchandise too as it brings in more money and more visitors. Half our organisation is a charity which is funded by The Arts charity of England. And the other half is about making profit which of course includes the bar and the restaurant as I said before. Other f orms of profit are programs, tee shirts, teddies for the younger audiences, to persuade their parents/carers etc...
Francesca- What type of performance attracts which type of audience?
Well we basically do a balancing act. We have to appeal to all the different audiences in each production we do by making it fun for the children gripping for the adults and acceptable by the critics. Sometimes however this is not possible and we have to focus on one type of audience for each production. You tend to find the more modern a production is the younger the audience usually turns up and the more traditional a production is the older the audience can be. This however does not mean only a certain age range can go. Everyone can go whenever they like!
How do you go about pleasing them?
We cant always please everyone but we try our best. We also try not to do to many of the same thing and we try range our productions and try to expand peoples horizons and come to something they wouldn't usually. We do use safe options sometimes as we have to impress the critic as well.
Olly- How do you know when a project is successful?
Well, we have financial targets that we have to reach and if we don't reach them, or we go over them then it is pretty self explanatory. We also have critics that view the show and give feedback, and we hand out opinion and comments surveys. Sometimes we may not have a very big audience but we could have AMAZING reviews from the critics.
What do you class as a failed project?
We never really get a failed project because everything leads to something positive. It is quite upsetting when the audience is low or the reviews are poor but we just learn from whatever we did wrong.
Seb- What opportunities are there within the playhouse, and are there any you aspire to achieve?
Well I could move away from delivering and start my own projects or more desk and office work but I don't think I could leave my job. I love it so much it would be very hard for me to move to something new.
Jack- What do you think the benefits are of days like Offstage choices?
We can encourage more and more people to come to the playhouse for various different reasons, it's also good for us to get more feedback from a different audience. And it gets people involved in experiencing something they maybe never even heard of before. It enhances learning.
I really enjoyed meeting Jess, she seems really nice and really approachable.
Today in miss Woffindens lesson, in S11 we met Jessica Farmer, the educations officer at the West Yorkshire Playhouse, and we were interviewing her and organising things for our trip on Friday for the offstage choices workshop. We started by telling her our name and our recent experiences to do with Creative arts and Media. Then she asked us a few questions and told us the timetable for Friday which included some very exiting things for example: being a fly man, set and costume design, lighting and sound technician, and hair, costume and make-up design. I cant wait!
Once we were done we began to ask her our interviewing questions. Olly, Imogen, Seb and Courtney filmed (I think!) her and the questioner. These were our questions and the response:
Imogen- Do you enjoy your job and what does it entail?
Yes definitely. Its very varied. Every day is different. Some days I can be visiting schools, I could be in meetings, I could be running workshops/ sessions, I could be at my desk and others I could be planning days like Off Stage Choices. So its very different and very fun at the same time.
Frankie- How long have you worked at the Playhouse and what has been your favourite project to date?
I have been working there four and a half years. I started working free lance (for myself), and then the offer came up for a job part time, three days a week and so I took it and continued to work free lance until a five day a week position came up. My favourite project would probably be Connections which is involved with the national theatre.
Have you got any upcoming events/ projects?
yeah, There is Aladdin in the summer which is really theatrical and exciting so that should be fun. We also have a young theatre makers project, which pairs with schools and professional theatres which will be really interesting.
Beth- How do you connect with the different communities?
We have the Arts Development which is split into three groups, these being: Creative education (which is what I do), in schools and universities etc..., Company Performance, who basically go into schools and perform productions and Clubs, these are mainly aimed at the elderly and people with learning disabilities.
How has technology influenced your work?
Massively. In the theatre in general. We also have a website which have you tube, facebook, flickr and twitter links to it.
Emily- What creative process do you go through when establishing a new project?
Everybody is involved because everybody is a creative manager. We decide what will work practically and artistically and what will encourage and persuade people to come.
How do you decide what it is going to involve?
Well we have connections with the different productions that are on and they help us decide. We sometimes start from scratch but others we build on an already written plays. Sometimes we get requests from schools and frequent visitors and expand from there.
Abi- What began your interest into the theatre and what training did you have to go through?
Well Ive always loved creative arts and since I was about 7 years old I was involved in a local amateur dramatics club. I wanted to outreach to young people and I took my A level in Theatre studies. I also took a masters degree and part of this was based 'On Location' in very non traditional production places for example I worked in a prison running workshops and I worked with people with learning disabilities helping them to reach their creativeness, and so on...I was working free lance when the job at the playhouse came about, I took it and they were pleased with my training but I didn't really need the masters degree to get the job but it did look good on my CV. When I got he job I had to have the usual health and safety and child protection training.
Tomas- What merchandise do you sell and how does this affect you income? How do you promote it?
We use lots of different merchandise and I suppose you could count the restaurant and bar as merchandise too as it brings in more money and more visitors. Half our organisation is a charity which is funded by The Arts charity of England. And the other half is about making profit which of course includes the bar and the restaurant as I said before. Other f orms of profit are programs, tee shirts, teddies for the younger audiences, to persuade their parents/carers etc...
Francesca- What type of performance attracts which type of audience?
Well we basically do a balancing act. We have to appeal to all the different audiences in each production we do by making it fun for the children gripping for the adults and acceptable by the critics. Sometimes however this is not possible and we have to focus on one type of audience for each production. You tend to find the more modern a production is the younger the audience usually turns up and the more traditional a production is the older the audience can be. This however does not mean only a certain age range can go. Everyone can go whenever they like!
How do you go about pleasing them?
We cant always please everyone but we try our best. We also try not to do to many of the same thing and we try range our productions and try to expand peoples horizons and come to something they wouldn't usually. We do use safe options sometimes as we have to impress the critic as well.
Olly- How do you know when a project is successful?
Well, we have financial targets that we have to reach and if we don't reach them, or we go over them then it is pretty self explanatory. We also have critics that view the show and give feedback, and we hand out opinion and comments surveys. Sometimes we may not have a very big audience but we could have AMAZING reviews from the critics.
What do you class as a failed project?
We never really get a failed project because everything leads to something positive. It is quite upsetting when the audience is low or the reviews are poor but we just learn from whatever we did wrong.
Seb- What opportunities are there within the playhouse, and are there any you aspire to achieve?
Well I could move away from delivering and start my own projects or more desk and office work but I don't think I could leave my job. I love it so much it would be very hard for me to move to something new.
Jack- What do you think the benefits are of days like Offstage choices?
We can encourage more and more people to come to the playhouse for various different reasons, it's also good for us to get more feedback from a different audience. And it gets people involved in experiencing something they maybe never even heard of before. It enhances learning.
I really enjoyed meeting Jess, she seems really nice and really approachable.
Friday, October 8, 2010
Andy Brooks (Testement) Beatboxing and Rapping Workshop.
The Black history Month, beat boxing, rapping workshop was held on the 4th October 2010 in the main school hall from 8:40 till 3:00. Around 30 students took part in the day to have a go at beat boxing and rapping and to raise awareness of racism.
As we interviewed Andy (Testament), we engaged in active listening as we asked him the questions and waited for the answers. Andy is a very confident person and he is very honest. He isn't afraid to be himself, he is his own person and he isn't afraid of what people will think of him.
Then we had a go at beat boxing! I was an epic fail at this! He taught us the different sounds to make and these consisted of the:
B- T- K- BFF- P And then we had to make a tune like this:
P-T-K-T-P-T-K-T-BFF FIGI FIGI FUNKY!!!
Andy spoke to us about the history of hip hop. This included where it originated from and who founded it. I was really shocked when I found out that a little black child in a ghetto in in a rough part of America: The Bronx in New York. He is now the legend called hip hop! As a child he was called Clive but as soon as he found fame he changed it to DJ Cool Hirke. Andy introduced racism to us and how Clive was bullied and was a victim of racism.
After talking to Andy about racism and Talking to Giles- Who is from the co-operative, the co-operative funded the workshop for us because they are now a member of our Brigshaw federation. We spoke about democracy, equality and equity and other awareness issues.
We then created our raps! In our groups of about 4 or 5 (I had Olly, Sasha, Alaska and Jack in my group,)we created some lyrics about racism to go in a rap. We elected some or all of us to rehearse and perform this rap to everyone to Seb, Tom, Josh and Olly's beat boxing rhythm that had previously been recorded. Today was a very fun day indeed! (Even though I failed!!!)
Theses were our interviewing questions:
1. What type of audience do you appeal to?
1a. How do you go about pleasing them?
2. How has technology influenced your work?
2a. Have you introduced new ways of advertising in recent years, for example facebook and twitter sites?
3. How do you connect to the different communities within Leeds and beyond?
3a. This workshop is free and because of this how do you fund your projects?
4. What creative process is involved in creating one of your projects?
4a. How do you decide what its going to involve?
4b. How do you decide where and why your projects will be held?
4c.How many different people from different agencies would be involved in creating one of your projects?
5. Do you have any merchandise or posters etc... to promote your projects? If not how do you get people involved?
6. How would you arrange a project/ Workshop?
6a. Do you have an age limit?
How do you decide what to run a project or workshop on?
6b. Do you charge?
6c. What is the reason for the no charge/ the price in which you charge?
7. How do you know when a workshop/ project is a success?
7a. What do you class as a failed workshop/ project?
Unfortunately I do not have all the answers written down as there was no time to write these down but they are all on the flip cameras which I will transfer onto my computer next week.
As we interviewed Andy (Testament), we engaged in active listening as we asked him the questions and waited for the answers. Andy is a very confident person and he is very honest. He isn't afraid to be himself, he is his own person and he isn't afraid of what people will think of him.
Then we had a go at beat boxing! I was an epic fail at this! He taught us the different sounds to make and these consisted of the:
B- T- K- BFF- P And then we had to make a tune like this:
P-T-K-T-P-T-K-T-BFF FIGI FIGI FUNKY!!!
Andy spoke to us about the history of hip hop. This included where it originated from and who founded it. I was really shocked when I found out that a little black child in a ghetto in in a rough part of America: The Bronx in New York. He is now the legend called hip hop! As a child he was called Clive but as soon as he found fame he changed it to DJ Cool Hirke. Andy introduced racism to us and how Clive was bullied and was a victim of racism.
After talking to Andy about racism and Talking to Giles- Who is from the co-operative, the co-operative funded the workshop for us because they are now a member of our Brigshaw federation. We spoke about democracy, equality and equity and other awareness issues.
We then created our raps! In our groups of about 4 or 5 (I had Olly, Sasha, Alaska and Jack in my group,)we created some lyrics about racism to go in a rap. We elected some or all of us to rehearse and perform this rap to everyone to Seb, Tom, Josh and Olly's beat boxing rhythm that had previously been recorded. Today was a very fun day indeed! (Even though I failed!!!)
Theses were our interviewing questions:
1. What type of audience do you appeal to?
1a. How do you go about pleasing them?
2. How has technology influenced your work?
2a. Have you introduced new ways of advertising in recent years, for example facebook and twitter sites?
3. How do you connect to the different communities within Leeds and beyond?
3a. This workshop is free and because of this how do you fund your projects?
4. What creative process is involved in creating one of your projects?
4a. How do you decide what its going to involve?
4b. How do you decide where and why your projects will be held?
4c.How many different people from different agencies would be involved in creating one of your projects?
5. Do you have any merchandise or posters etc... to promote your projects? If not how do you get people involved?
6. How would you arrange a project/ Workshop?
6a. Do you have an age limit?
How do you decide what to run a project or workshop on?
6b. Do you charge?
6c. What is the reason for the no charge/ the price in which you charge?
7. How do you know when a workshop/ project is a success?
7a. What do you class as a failed workshop/ project?
Unfortunately I do not have all the answers written down as there was no time to write these down but they are all on the flip cameras which I will transfer onto my computer next week.
Friday, October 1, 2010
Tuesday at Leeds!
Tuesday 28th September 2010
Today we met at school at 8:15 to go into Leeds for the morning. We got on the minibus, (all bar Tomas who was late and missed it) and set off for Leeds. We got into Leeds and started filming and photographing anything we perceived as creative. After this we went to The Leeds Art Gallery to interview Amanda Phillips and these where our questions and answers:
1. What type of audience do you appeal to?
Well there are four different categories. These are classed as Familiar and confident/ frequent visitors- the usual bunch of people, Statutory education- schools, college, university etc... Events- for example conferences, weddings etc... and Convenience visitors- people who want to go to the shop, the library, the toilets the cafe and anything else linked to the gallery.
1a. How do you go about pleasing them?
We aim to inspire cultural communities and we aim to challenge, entertain and inspire our visitors and aim to get them to want to come back again soon. We put on performances and exhibitions to try to lure people in and get them involved.
1b. What data do you hold on your audiences and how is it collated?
There is a political/ data protection act so we cannot give out audience information. We have a periodic questionnaire about our exhibitions for the visitors, we have surveys and a mailing list and we try to collect the postcodes in which people come from to give us an idea on the areas in which people are coming from.
2. How has technology influenced how you work in the art gallery?
Massively!!! Tons of emails and its very stressful reading them all. The software (programs, computers, etc.. ) goes out of date very quickly! Artists expect the best- Touch screens etc... but the speed is really quick with new technologies which is a bonus! There could be some collection issues due to visitors requirements and/ or the computer has a high risk of crashing. Catastrophe!!!
2a. Have you introduced new ways of advertising in recent years, for example facebook and twitter sites?
Not facebook. We don't like facebook and we find it rather confusing. We do use twitter on the rare occasion but tend to just use word of mouth or leaflets made by the council. We used to use posters but we cannot afford them any more so we have to rely on the ones above.
3. How do you connect with different communities within Leeds and Beyond.
We have international relationships and share collections with other countries and we have school links and office links.
3a. The gallery is free to enter, how do you fund the gallery and its projects?
We have donations boxes and Leeds City Council pay our wages, pay for the lighting and pay for the heating. We rent rooms out for special events and we have ambitious exhibitions.
4. What creative process is involved in creating an exhibition?
4a. How do you decide what it is going to involve?
4b. How do you contact artists?
What space will you use?
How many different people from different agencies would be involved in putting on an exhibition?
We snoop through things till we find something we like. Artists contact us not us contacting them and they plead for their artwork to be displayed. Its all trial and error, if something looks good leave it if it looks bad move it and so on. Their is a hierarchy as to who is involved. The worker, the exhibition panel, the managers, the artists etc... We are constantly changing our exhibitions to make it new and interesting. We have debates, arguments, creative discussions and we use mind maps to determine what is going to happen.
5. What merchandise do you have and how do you promote it?
We buy what we can afford and what we think will sell but our shop isn't the best around. Alot of the products are not related to the gallery and we don't promote our shop as best as we could. Places like the Yorkshire sculpture has a very good shop and their merchandise is very specific to the topic. Remember though that this is all my opinion!
6. How do you arrange your workshop?
Do you have an age limit?
How do you decide what to run a workshop on?
Do you charge? If not how is it funded?
Today we met at school at 8:15 to go into Leeds for the morning. We got on the minibus, (all bar Tomas who was late and missed it) and set off for Leeds. We got into Leeds and started filming and photographing anything we perceived as creative. After this we went to The Leeds Art Gallery to interview Amanda Phillips and these where our questions and answers:
1. What type of audience do you appeal to?
Well there are four different categories. These are classed as Familiar and confident/ frequent visitors- the usual bunch of people, Statutory education- schools, college, university etc... Events- for example conferences, weddings etc... and Convenience visitors- people who want to go to the shop, the library, the toilets the cafe and anything else linked to the gallery.
1a. How do you go about pleasing them?
We aim to inspire cultural communities and we aim to challenge, entertain and inspire our visitors and aim to get them to want to come back again soon. We put on performances and exhibitions to try to lure people in and get them involved.
1b. What data do you hold on your audiences and how is it collated?
There is a political/ data protection act so we cannot give out audience information. We have a periodic questionnaire about our exhibitions for the visitors, we have surveys and a mailing list and we try to collect the postcodes in which people come from to give us an idea on the areas in which people are coming from.
2. How has technology influenced how you work in the art gallery?
Massively!!! Tons of emails and its very stressful reading them all. The software (programs, computers, etc.. ) goes out of date very quickly! Artists expect the best- Touch screens etc... but the speed is really quick with new technologies which is a bonus! There could be some collection issues due to visitors requirements and/ or the computer has a high risk of crashing. Catastrophe!!!
2a. Have you introduced new ways of advertising in recent years, for example facebook and twitter sites?
Not facebook. We don't like facebook and we find it rather confusing. We do use twitter on the rare occasion but tend to just use word of mouth or leaflets made by the council. We used to use posters but we cannot afford them any more so we have to rely on the ones above.
3. How do you connect with different communities within Leeds and Beyond.
We have international relationships and share collections with other countries and we have school links and office links.
3a. The gallery is free to enter, how do you fund the gallery and its projects?
We have donations boxes and Leeds City Council pay our wages, pay for the lighting and pay for the heating. We rent rooms out for special events and we have ambitious exhibitions.
4. What creative process is involved in creating an exhibition?
4a. How do you decide what it is going to involve?
4b. How do you contact artists?
What space will you use?
How many different people from different agencies would be involved in putting on an exhibition?
We snoop through things till we find something we like. Artists contact us not us contacting them and they plead for their artwork to be displayed. Its all trial and error, if something looks good leave it if it looks bad move it and so on. Their is a hierarchy as to who is involved. The worker, the exhibition panel, the managers, the artists etc... We are constantly changing our exhibitions to make it new and interesting. We have debates, arguments, creative discussions and we use mind maps to determine what is going to happen.
5. What merchandise do you have and how do you promote it?
We buy what we can afford and what we think will sell but our shop isn't the best around. Alot of the products are not related to the gallery and we don't promote our shop as best as we could. Places like the Yorkshire sculpture has a very good shop and their merchandise is very specific to the topic. Remember though that this is all my opinion!
6. How do you arrange your workshop?
Do you have an age limit?
How do you decide what to run a workshop on?
Do you charge? If not how is it funded?
Well we have the target audiences to think about when we are planning the workshops. We don't have an age limit for the Art gallery but we do for some of the workshops as they are mainly based for school child ages. In a year we HAVE to get at least 6000 school children from the age 5- 17 years. We have a range of workshops varying from painting to modelling to drawing to acting. Anything that is creative you can guarantee we will do. To decide it is basically one person has a sudden idea. We take it up the hierarchy until it is approved. We try to do a range of workshops including funny child ones, to funkier teen ones to mature adult ones and very many more! We aim to make you want to come back by doing different interesting, entertaining things. We do have holiday clubs which do cost and some of our workshops charge but the gallery is free to enter an so Leeds City Council pay the wage like I said earlier. We have stopped painting things like Monet and we are trying new things so that history doesn't drag on.
7. How do you know when an exhibition is a success? What do you class a a failed exhibition? We never really know. Basically we just use our intuition. We get positive and negative vibes and we take it from there. We do have surveys and evaluations for people to fill out to give us a bit of feedback. People give constructive criticism. We make judgements as to how the artists react when they see the exhibition as well.
After interviewing her we had a look around the Art Gallery and then headed back to the bus. When we got back to school we were with Miss Woffinden for an hour and had a talk about Leeds and Spoke about Testament (a beat boxing visitor coming into school on Monday). We handed in our homework and discussed narration and the use of it in our films. Then we had Mr Romer, where we finished editing our films and looked at what green screening was. Today was very eventful!
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