Podcasts about Arts Council England

ซู วิลเลียมสัน (Sue Williamson) ผู้อำนวยการฝ่ายห้องสมุดที่ Arts Council England และรองประธานคณะกรรมการมูลนิธิ Reading Agency นำเสนอภาพสะท้อนของระบบห้องสมุดประชาชนสหราชอาณาจักรที่ซับซ้อนและเต็มไปด้วยความท้าทาย ภายใต้พระราชบัญญัติห้องสมุดและพิพิธภัณฑ์สาธารณะปี 1964 ที่กำหนดให้หน่วยงานท้องถิ่นจัดหา "บริการห้องสมุดที่ครอบคลุมและมีประสิทธิภาพ" ตั้งแต่การยกเลิกมาตรฐานห้องสมุดในปี 2010 เนื่องจากวิกฤตการเงินโลกที่เกิดขึ้นในปี 2008 ส่งผลกระทบต่อห้องสมุดภายใต้การกำกับดูแลของหน่วยงานท้องถิ่น 150 แห่งทั่วสหราชอาณาจักรประสบปัญหาการลดงบประมาณหลักอย่างต่อเนื่อง ความท้าทายนี้ทำให้ห้องสมุดต้องเกิดการปรับตัวหลายรูปแบบ ตั้งแต่การจ้างบริการห้องสมุดให้กับองค์กรภายนอกเช่น ทรัสต์และมูลนิธิ ไปจนถึงการใช้อาสาสมัครบริหารห้องสมุด ในขณะที่องค์กรสำคัญอย่าง Arts Council England ซึ่งรับผิดชอบปรับปรุงบริการห้องสมุดตั้งแต่ปี 2012 สามารถสนับสนุนเฉพาะกิจกรรมพัฒนาและโครงการด้านศิลปวัฒนธรรม ไม่สามารถสนับสนุนงบประมาณหลักอย่างพนักงาน หนังสือ และอาคารได้ ทว่าด้วยการแต่งตั้งผู้อำนวยการห้องสมุดและการเปิดรับสมัครห้องสมุดประชาชนเข้าสู่กลุ่มผลงานระดับชาติตั้งแต่ปี 2018 ทำให้การลงทุนเพิ่มขึ้นเป็น 3 เท่าภายในปี 2021 ปัจจุบันระบบนิเวศห้องสมุดประชาชนของสหราชอาณาจักรประกอบด้วยเครือข่ายองค์กรสำคัญที่ทำงานร่วมกัน ได้แก่ CILIP สถาบันชาร์เตอร์ดที่สนับสนุนการพัฒนาวิชาชีพ Libraries Connected (เดิมชื่อ SCL) ที่กำหนด 4 ข้อเสนอสากล คือ การอ่าน ข้อมูลและดิจิทัล วัฒนธรรมและความคิดสร้างสรรค์ สุขภาพและความเป็นอยู่ที่ดี และ British Library ที่ขับเคลื่อนโครงการระดับชาติอย่าง Living Knowledge Network และเครือข่าย BIPC ที่ช่วยสร้างธุรกิจใหม่กว่า 18,000 แห่งและมูลค่าทางเศรษฐกิจ 168 ล้านปอนด์ในช่วง 3 ปี วิสัยทัศน์ของซูคือการเชื่อมโยงเครือข่ายห้องสมุดทุกภาคส่วน สร้างความร่วมมือระดับภูมิภาคที่ใหญ่ขึ้น และพัฒนาโมเดลการรับรองมาตรฐานร่วมกับระบบข้อมูลที่เข้มแข็ง เพื่อให้ห้องสมุดประชาชนสามารถรับใช้ทั้งชุมชนท้องถิ่นและสนับสนุนเป้าหมายระดับชาติได้อย่างยั่งยืน ฟังการบรรยายเรื่อง "Law and Libraries: The UK's Legal Framework Supporting Public Libraries" โดย ซู วิลเลียมสัน (Sue Williamson) ผู้อำนวยการฝ่ายห้องสมุด Arts Council England และรองประธานคณะกรรมการมูลนิธิ The Reading Agency, สหราชอาณาจักร จาก TK FORUM 2025 "Books without Borders"

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen to Print In this week's episode we're bringing you a story for Christmas.  ‘The Cavalry' is by award-winning and critically acclaimed Welsh poet and novelist Christopher Meredith. The story you're about to hear is a seasonal piece set in the early 1960s in south Wales.  It's called 'The Cavalry' and it's from Chris's collection 'Brief Lives' which is published by Seren. You can order a copy of Brief Lives here https://www.serenbooks.com/book/brief-lives/  Christopher Meredith is the award-winning author of five novels and five collections of poetry and also translates Welsh to English. Prizes include an Eric Gregory Award, the Arts Council of Wales Young Writer Prize and the Fiction Prize for his first novel, Shifts. His second novel, Griffri, was shortlisted for the Book of the Year Award.  His collection of poems, The Meaning of Flight, was long-listed for The Book of the Year Award 2006.  He has given readings all over Britain and Europe as well as in Israel/Palestine and the USA.  Born and brought up in Tredegar, he was a steelworker and a schoolteacher before becoming a professor of creative writing at the University of Glamorgan. He lives in Brecon. A collection of six short fictions, titled Brief Lives, was released in 2018. Find out more about Christopher Meredith by visiting his website here https://christophermeredit9.wixsite.com/website All content in audio, onscreen and in print is protected and may not be copied or used for any purposes including generative AI/AI training.  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen to Print. This podcast is produced using public funding from Arts Council England.

Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/87_Dover_Beach_by_Matthew_Arnold.mp3 Poet Matthew Arnold Reading and commentary by Mark McGuinness Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Podcast Transcript This is a magnificent and haunting poem by Matthew Arnold, an eminent Victorian poet. Written and published at the mid-point of the nineteenth century – it was probably written around 1851 and published in 1867 – it is not only a shining example of Victorian poetry at its best, but it also, and not coincidentally, embodies some of the central preoccupations of the Victorian age. The basic scenario is very simple: a man is looking out at the sea at night and thinking deep thoughts. It's something that we've all done, isn't it? The two tend to go hand-in-hand. When you're looking out into the darkness, listening to the sound of the sea, it's hard not to be thinking deep thoughts. If you've been a long time listener to this podcast, it may remind you of another poet who wrote about standing on the shore thinking deep thoughts, looking at the sea, Shakespeare, in his Sonnet 60: Like as the waves make towards the pebbled shore,So do our minutes hasten to their end; Arnold's poem is not a sonnet but a poem in four verse paragraphs. They're not stanzas, because they're not regular, but if you look at the text on the website, you can clearly see it's divided into four sections. The first part is a description of the sea, as seen from Dover Beach, which is on the shore of the narrowest part of the English channel, making it the closest part of England to France: The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; – on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay. And as you can hear, the poem has a pretty regular and conventional rhythm, based on iambic metre, ti TUM, with the second syllable taking the stress in every metrical unit. But what's slightly unusual is that the lines have varying lengths. By the time we get to the third line: Upon the straits; – on the French coast the light There are five beats. There's a bit of variation in the middle of the line, but it's very recognisable as classic iambic pentameter, which has a baseline pattern going ti TUM, ti TUM, ti TUM, ti TUM, ti TUM. But before we get to the pentameter, we get two short lines: The sea is calm tonight.Only three beats; andThe tide is full, the moon lies fair – four beats. We also start to notice the rhymes: ‘tonight' and ‘light'. And we have an absolutely delightful enjambment, where a phrase spills over the end of one line into the next one: On the French coast the light,Gleams and is gone. Isn't that just fantastic? The light flashes out like a little surprise at the start of the line, just as it's a little surprise for the speaker looking out to sea. OK, once he's set the scene, he makes an invitation: Come to the window, sweet is the night-air! So if there's a window, he must be in a room. There's somebody in the room with him, and given that it's night it could well be a bedroom. So this person could be a lover. It's quite likely that this poem was written on Arnold's honeymoon, which would obviously fit this scenario. But anyway, he's inviting this person to come to the window and listen. And what does this person hear? Well, helpfully, the speaker tells us: Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Isn't that just great? The iambic metre is continuing with some more variations, which we needn't go into. And the rhyme is coming more and more to the fore. Just about every line in this section rhymes with another line, but it doesn't have a regular pattern. Some of the rhymes are close together, some are further apart. There's only one line in this paragraph that doesn't rhyme, and that's ‘Listen! You hear the grating roar'. If this kind of shifting rhyme pattern reminds you of something you've heard before, you may be thinking all the way back to Episode 34 where we looked at Coleridge's use of floating rhymes in his magical poem ‘Kubla Khan'. And it's pretty evident that Arnold is also casting a spell, in this case to mimic the rhythm of the waves coming in and going out, as they ‘Begin, and cease, and then again begin,'. And then the wonderful last line of the paragraph, as the waves ‘bring / The eternal note of sadness in'. You know, in the heart of the Victorian Age, when the Romantics were still within living memory, poets were still allowed to do that kind of thing. Try it nowadays of course, and the Poetry Police will be round to kick your front door in at 5am and arrest you. Anyway. The next paragraph is a bit of a jump cut: Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; So Arnold, a classical scholar, is letting us know he knows who Sophocles, the ancient Greek playwright was. And he's establishing a continuity across time of people looking out at the sea and thinking these deep thoughts. At this point, Arnold explicitly links the sea and the thinking:                                     weFind also in the sound a thought,Hearing it by this distant northern sea. And the thought that we hear when we listen to the waves is what Arnold announces in the next verse paragraph, and he announces it with capital letters: The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled. And for a modern reader, I think this is the point of greatest peril for Arnold, where he's most at risk of losing us. We may be okay with ‘the eternal note of sadness', but as soon as he starts giving us the Sea of Faith, we start to brace ourselves. Is this going to turn into a horrible religious allegory, like The Pilgrim's Progress? I mean, it's a short step from the Sea of Faith to the Slough of Despond and the City of Destruction. And it doesn't help that Arnold uses the awkwardly rhyming phrase ‘a bright girdle furled' – that's not going to get past the Poetry Police, is it? But fear not; Arnold doesn't go there. What comes next is, I think, the best bit of the poem. So he says the Sea of Faith ‘was once, too, at the full', and then: But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Well, if you thought the eternal note of sadness was great, this tops it! It's absolutely fantastic. That line, ‘Its melancholy, long, withdrawing roar,' where the ‘it' is faith, the Sea of Faith. And the significance of the line is underlined by the fact that the word ‘roar' is a repetition – remember, that one line in the first section that didn't rhyme? Listen! you hear the grating roar See what Arnold did there? He left that sound hovering at the back of the mind, without a rhyme, until it came back in this section, a subtle but unmistakeable link between the ‘grating roar' of the actual sea at Dover Beach, and the ‘withdrawing roar' of the Sea of Faith: Its melancholy, long, withdrawing roar, Isn't that the most Victorian line ever? It encapsulates the despair that accompanied the crisis of faith in 19th century England. This crisis was triggered by the advance of modern science – including the discoveries of fossils, evidence of mass extinction of previous species, and the theory of evolution, with Darwin's Origin of Species published in 1859, in between the writing and publication of ‘Dover Beach'. Richard Holmes, in his wonderful new biography of the young Tennyson, compares this growing awareness of the nature of life on Earth to the modern anxiety over climate change. For the Victorians, he writes, it created a ‘deep and existential terror'. One thing that makes this passage so effective is that Arnold has already cast the spell in the first verse paragraph, hypnotising us with the rhythm and rhyme, and linking it to the movement of the waves. In the second paragraph, he says, ‘we find also in the sound a thought'. And then in the third paragraph, he tells us the thought. And the thought that he attaches to this movement, which we are by now emotionally invested in, is a thought of such horror and profundity – certainly for his Victorian readers – that the retreat of the sea of faith really does feel devastating. It leaves us gazing down at the naked shingles of the world. The speaker is now imaginatively out of the bedroom and down on the beach. This is very relatable; we've all stood on the beach and watched the waves withdrawing beneath our feet and the shingle being left there. It's an incredibly vivid evocation of a pretty abstract concept. Then, in the fourth and final verse paragraph, comes a bit of a surprise: Ah, love, let us be trueTo one another! Well, I for one was not expecting that! From existential despair to an appeal to his beloved. What a delightful, romantic (with a small ‘r') response to the big-picture, existential catastrophe. And for me, it's another little echo of Shakespeare's Sonnet 60, which opens with a poet contemplating the sea and the passing of time and feeling the temptation to despair, yet also ends with an appeal to the consolation of love: And yet to times in hope my verse shall stand,blockquotePraising thy worth, despite his cruel hand. Turning back to Arnold. He says ‘let us be true / To one another'. And then he links their situation to the existential catastrophe, and says this is precisely why they should be true to each other: for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain; It sounds, on the face of it, a pretty unlikely justification for being true to one another in a romantic sense. But actually, this is a very modern stance towards romantic love. It's like the gleam of light that just flashed across the Channel from France – the idea of you and me against an unfeeling world, of love as redemption, or at least consolation, in a meaningless universe. In a world with ‘neither joy, nor love, nor light,' our love becomes all the more poignant and important. Of course, we could easily object that, regardless of religious faith, the world does have joy and love and light. His very declaration of love is evidence of this. But let's face it, we don't always come to poets for logical consistency, do we? And we don't have to agree with Matthew Arnold to find this passage moving; most of us have felt like this at some time when we've looked at the world in what feels like the cold light of reality. He evokes it so vividly and dramatically that I, for one, am quite prepared to go with him on this. Then we get the final three lines of the poem:We are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. I don't know about you, but I find this a little jarring in the light of what we've just heard. We've had the magnificent description of the sea and its effect on human thought, extending that into the idea of faith receding into illusion, and settling on human love as some kind of consolation for the loss of faith. So why do we need to be transported to a windswept plain where armies are clashing and struggling? It turns out to be another classical reference, to the Greek historian Thucydides' account of the night battle of Epipolae, where the two armies were running around in the dark and some of them ended up fighting their own side in the confusion. I mean, fine, he's a classical scholar. And obviously, it's deeply meaningful to him. But to me, this feels a little bit bolted on. A lot of people love that ending, but to me, it's is not as good as some of the earlier bits, or at least it doesn't quite feel all of a piece with the imagery of the sea. But overall, it is a magnificent poem, and this is a small quibble. Stepping back, I want to have another look at the poem's form, specifically the meter, and even more specifically, the irregularity of the meter, which is quite unusual and actually quite innovative for its time. As I've said, it's in iambic meter, but it's not strictly iambic pentameter. You may recall I did a mini series on the podcast a while ago looking at the evolution of blank verse, unrhymed iambic pentameter, from Christopher Marlowe and Shakespeare's dramatic verse, then Milton's Paradise Lost and finally Wordsworth's Tintern Abbey. ‘Dover Beach' is rhymed, so it's not blank verse, but most of the techniques Arnold uses here are familiar from those other poets, with variations on the basic rhythm, sometimes switching the beats around, and using enjambment and caesura (a break or pause in the middle of the line). But, and – this is quite a big but – not every line has five beats. The lines get longer and shorter in an irregular pattern, apparently according to Arnold's instinct. And this is pretty unusual, certainly for 1851. It's not unique, we could point to bits of Tennyson or Arthur Hugh Clough for metrical experiments in a similar vein, but it's certainly not common practice. And I looked into this, to see what the critics have said about it. And it turns out the scholars are divided. In one camp, the critics say that what Arnold is doing is firmly in the iambic pentameter tradition – it's just one more variation on the pattern. But in the other camp are people who say, ‘No, this is something new; this is freer verse,' and it is anticipating free verse, the non-metrical poetry with no set line lengths that came to be the dominant verse form of the 20th century. Personally, I think you can look back to Wordsworth and see a continuity with his poetic practice. But you could equally look forward, to a link with T. S. Eliot's innovations in ‘The Love Song of J. Alfred Prufrock' and The Waste Land. Eliot is often described as an innovator in free verse, which is true up to a point, but a lot of his writing in that early period isn't strictly free verse; it's a kind of broken up metrical verse, where he often uses an iambic metre with long and short lines, which he varies with great intuitive skill – in a similar manner to Arnold's ‘Dover Beach'. Interestingly, when ‘Dover Beach' was first published, the reviews didn't really talk about the metre, which is ammunition for the people who say, ‘Well, this is just a kind of iambic pentameter'. Personally, I think what we have here is something like the well-known Duck-Rabbit illusion, where you can look at the same drawing and either see a duck or a rabbit, depending how you look at it. So from one angle, ‘Dover Beach' is clearly continuing the iambic pentameter tradition; from another angle, it anticipates the innovations of free verse. We can draw a line from the regular iambic pentameter of Wordsworth (writing at the turn of the 18th and 19th century) to the fractured iambic verse of Eliot at the start of the 20th century. ‘Dover Beach' is pretty well halfway between them, historically and poetically. And I don't think this is just a dry technical development. There is something going on here in terms of the poet's sense of order and disorder, faith and doubt. Wordsworth, in the regular unfolding of his blank verse, conveys his basic trust in an ordered and meaningful universe. Matthew Arnold is writing very explicitly about the breakup of faith, and we can start to see it in the breakup of the ordered iambic pentameter. By the time we get to the existential despair of Eliot's Waste Land, the meter is really falling apart, like the Waste Land Eliot describes. So overall, I think we can appreciate what a finely balanced poem Arnold has written. It's hard to categorise. You read it the first time and think, ‘Oh, right, another conventional Victorian melancholy lament'. But just when we think he's about to go overboard with the Sea of Faith, he surprises us and with that magnificent central passage. And just as he's about to give in to despair, we get that glimmering spark of love lighting up, and we think, ‘Well, maybe this is a romantic poem after all'. And maybe Arnold might look at me over his spectacles and patiently explain that actually, this is why that final metaphor of the clashing armies is exactly right. Friend and foe are running in first one direction, then another, inadvertently killing the people on the wrong side. So the simile gives us that sense of being caught in the cross-currents of a larger sweep of history. With all of that hovering in our mind, let's go over to the window once more and heed his call to listen to the sound of the Victorian sea at Dover Beach. Dover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies fairUpon the straits; on the French coast the lightGleams and is gone; the cliffs of England stand,Glimmering and vast, out in the tranquil bay.Come to the window, sweet is the night-air!Only, from the long line of sprayWhere the sea meets the moon-blanched land,Listen! you hear the grating roarOf pebbles which the waves draw back, and fling,At their return, up the high strand,Begin, and cease, and then again begin,With tremulous cadence slow, and bringThe eternal note of sadness in. Sophocles long agoHeard it on the Aegean, and it broughtInto his mind the turbid ebb and flowOf human misery; weFind also in the sound a thought,Hearing it by this distant northern sea. The Sea of FaithWas once, too, at the full, and round earth's shoreLay like the folds of a bright girdle furled.But now I only hearIts melancholy, long, withdrawing roar,Retreating, to the breathOf the night-wind, down the vast edges drearAnd naked shingles of the world. Ah, love, let us be trueTo one another! for the world, which seemsTo lie before us like a land of dreams,So various, so beautiful, so new,Hath really neither joy, nor love, nor light,Nor certitude, nor peace, nor help for pain;And we are here as on a darkling plainSwept with confused alarms of struggle and flight,Where ignorant armies clash by night. Matthew Arnold Matthew Arnold was a British poet, critic, and public intellectual who was born in 1822 and died in 1888. His father was Thomas Arnold, the famed headmaster of Rugby School. Arnold studied Classics at Oxford and first became known for lyrical, melancholic poems such as ‘Dover Beach', ‘The Scholar-Gipsy', and ‘Thyrsis', that explore the loss of faith in the modern world. Appointed an inspector of schools, he travelled widely and developed strong views on culture, education, and society. His critical essays, especially Culture and Anarchy, shaped debates about the role of culture in public life. Arnold remains a central figure bridging Romanticism and early modern thought. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Dover Beach by Matthew Arnold Episode 87 Dover Beach by Matthew Arnold Mark McGuinness reads and discusses ‘Dover Beach' by Matthew Arnold.Poet Matthew ArnoldReading and commentary by Mark McGuinnessDover Beach By Matthew Arnold The sea is calm tonight.The tide is full, the moon lies... Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom...

As a new adaptation of Peter Shaffer's Amadeus begins on Sky, actor Will Sharpe speaks to Front Row about he researched the role of Mozart, and music historian Flora Willson and Music Director of the Dunedin Consort John Butt discuss how recent research helps us better understand the man and his music. Baroness Margaret Hodge - whose review into Arts Council England was published this week - tells us about her findings and recommendations. And with just a week to go until Christmas, broadcaster Bex Lindsay delivers her recommendations of books for children this festive season. The books discussed were: How To Grow A Reindeer' written by Rachel Morrisroe, illustrated by Steven Lenton Robin by Sarah Ann Juckes Elle McNicoll's Role Model Presenter: Kate Molleson Producer: Mark Crossan

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen to Print In our Poem-Of-The-Month episode for December we feature a poem by Geraldine Clarkson.  ‘Sweet Holm Glosa' follows life in a remote Hebridean community.   You can find out more about poet Geraldine Clarkson and her work here https://www.iambapoet.com/geraldine-clarkson You can read ‘Sweet Holm Glosa' which was featured in the Times Literary Supplement in 2024 here https://www.the-tls.com/literature/original-poems-literature/sweet-holm-glosa-original-poem-geraldine-clarkson  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen to Print. This podcast is produced using public funding from Arts Council England

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen to Print. In this week's episode we're bringing you the annual Christmas recording by members of the Write On! and Pen to Print.  This year our poem is ‘A Patchwork Poem For Christmas':  a compilation of couplets pulled together by poet and Thoughtful Tuesday Editor, Eithne Cullen.  It is mixed and edited by Palak Tewary.  In our recording of ‘A Patchwork Poem For Christmas' you can hear the voices of: Tavinder NewPalak TewarySebastian ElankoEithne CullenAfsana ElankoDanny BaxterLisa RoullierMohammed RahmanMadeleine F WhiteAmber HallJulie DexterEllie M. BlakeVrushali KhadilkarJuneha ChowdhuryMirabel LavelleFarzana HakimClaire BussAnd Irina Goncherenko The recordings were mixed and edited by Palak Tewary and the couplets were compiled by Eithne Cullen.   Merry Christmas and a Happy New Year to all of our listeners.We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen to Print. This podcast is produced using public funding from Arts Council England.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen to Print. Our writing tips this month are from novelist, playwright and actor Elaine Spires.  The author of a dozen novels, Elaine has also written stage plays and television scripts.  She runs the podcast: ‘Going Round The Banjo: The Dagenham Story Podcast'. You can find out more about Elaine Spires and her work by visiting her website at https://www.elainespires.co.uk/ Follow Elaine on Instagram here https://www.instagram.com/elainespiresauthor We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen to Print. This podcast is produced using public funding from Arts Council England. 

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by PenTo Print.For our Write On! Audio And Friends episode this month we are sharing an episode of a new podcast called “Where Writers Go” which is written and presented by actor, film maker and writer Kathryn Georghiou.  The show focuses on place as an influence for writers and each episode visits a different location and discusses the writing influences that can be found there. You can find out more about “Where Writers Go” and subscribe in your favourite podcast app by visiting the show's website here https://www.wherewritersgo.com/ You can follow “Where Writers Go” on Instagram here https://www.instagram.com/wherewritersgo/ You can find out more about Kathryn Georghiou and her other work here https://www.kgactress.com/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England.

Episode 86 Recalling Brigid by Orna Ross Orna Ross reads ‘Recalling Brigid' and discusses the poem with Mark McGuinness. https://media.blubrry.com/amouthfulofair/media.blubrry.com/amouthfulofair/content.blubrry.com/amouthfulofair/86_Recalling_Brigid_by_Orna_Ross.mp3 This poem is from: Poet Town: The Poetry of Hastings & Thereabouts edited by Richard Newham Sullivan Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Interview transcript Mark: Orna, where did this poem come from? Orna: Hi Mark. Yeah, so it's one of a collection that I'm working on, around Irish women from history and myth. And these are women that I grew up with, as a young person, receiving a sort of a typical Irish education, if you like. Orna: And so some of them are saints, some of them are mythological people. Well, saints are also mythological people! Some of them are historical figures who've been mythologized. And I just wanted to go back in and do my own exploration of each of these women because everybody else had. So I've been gathering these poems over a long time, but it actually started with this one. It started with Brigid. And Brigid is a figure from ancient Irish mythology. And she was Christianized into a Roman Catholic saint. She is the patron saint of Ireland. One of. You've probably heard of the other one. Patrick. You probably haven't heard of this one: Brigid. And, so many things have been projected on her. And it's interesting to read what, what survives of what is written about her because what's written earlier on in time is quite different to what's written later on. And she continues to be an inspiration. Her feast day is the first day of spring in Ireland, which in Ireland is the first day of February. It's much earlier than it is in England. And she's just an interesting, personification of the female virtues as they've been perceived over time. Mark: So you said she was written about differently in earlier times to more recent times, which I think is pertinent to how you're exploring that in the poem. So maybe you could just give us a brief summary of that. Orna: Yes. So I, the poem refers to ‘the takeover'. And by that, I kind of mean the Christian, but hand in hand with Christian goes the patriarchal, takeover of old images of women in general. And Brigid is part of that. So earlier, renditions about her tend to focus on her as a healer, as a wise woman, as a very compassionate person, ‘ale to lepers' is one of the, images in the poem. Whereas later versions tend to emphasize her holiness and her saintliness and, her goodness and I suppose what we would typically think is a good, religious, icon. So it's interesting just to read how that changes and differs as we go. And she also then had her detractors, which is where we get to the ideas, about women generally that are in the poem – the consort, mother, victim, whore, those kinds of ideas. You see them brushing against Brigid over time, but she comes through intact actually, as a woman in her own right. And these don't tend to stick to her as they have stuck to others. Mark: And sometimes when poets use mythological figures like this, there's a kind of a critique of, ‘Well, that's a little bit old fashioned, it's poetry with a capital P'. But reading this and listening to you, it kind of really underlines to me that mythology and religion are really quite present in Ireland. Orna: Oh, gosh, yes! The past is very present in Ireland still, in lots of ways. And. It's interesting. I suppose it's something to do with being a small island on the very edge of, in inverted commas, civilization. Although the Irish like to think they civilized Europe during the dark ages by sending our saints and our scholarship, our images of people like Brigid, the truth is that old ways lingered on a long time, and particularly the part of Ireland where I grew up. So, I grew up in County Wexford down in the small bottom right-hand corner, the very southeast tip of Ireland. Around it, there is a river and a small hill that kind of cuts that area off. And around County Wexford in general, there are larger hills and a big river that cuts Wexford off. So they tended to travel by sea more than road, people from that part of the world. And it was the first part of Ireland to be conquered the Norman conquest and, Old English lingered there right up until, well, there are still words that are used in Wexford that aren't used elsewhere. Carols and songs as well. So other parts of Ireland and, obviously England, had moved on, it but kind of got stuck there. So I'm just kind of pointing up the fact that yes, things stayed, passed on in an oral kind of culture and an oral tradition. And hedge schools and such like, long after such things had faded away in other parts of Europe. Mark: And you say Old English rather than Irish was lingering? Orna: That's right. And, because they had, well, the Normans came to England first Hastings, actually where I live now. One of the reasons I'm here, I think is that I felt a lot of similarities between here and Wexford and I think the Norman invasion in both places, it was part of that. So yeah, a hundred years after the Normans landed in Hastings, they were brought over to Wexford by an Irish chieftain to help him win one of his battles with another Irish chieftain. So English came with the Normans to Ireland. Mark: Right. And this is another amazing thing about Ireland, is the kind of the different layers, like archaeological layers of language. You've got Irish, you've got Old English, you've got Norman French, you've got Latin from the church, you've got Norse from the Vikings and so on. It's incredibly rich. Orna: Yes. More diverse, I think. And again, because of its cut off nature, these things lasted longer, I think, because that's also true of England, but the overlay is stronger and so they don't make their way through. Mark: Right, right. And the ghosts can peep through. So, okay, that's the historical cultural context. What does Brigid mean to you and why did you choose her as the first figure in this sequence? Orna: She chose me, I think. I very much feel this poem, you know, some poems are made and some arrive and this one arrived. I wanted to do something to celebrate her. That was all I knew because it was the first day of spring, which I always loved, that first day of February. You know, when winter is really beginning to bite and you feel, I mean, there is no sign of spring except some crocuses maybe peeking up and, uh, a few spring flowers making a little promise. But usually the weather is awful, but it's the first day of spring and it's, been a really important day for me from that point of view. And then the fact that it does, you know, the fact that Patrick is such a great big deal everywhere and Brigid isn't known at all. So that's kind of where I started and I just knew I'd like to write a poem. And then it was one of those ones that I, if I had set out to write a poem about Brigid, I don't think this is what I would have written. It just arrived. And I found that I was thinking about lots of things and as the first poem of this sequence, I wanted to say some of the things about womanhood in the poem, and I, well, I realised I did, because that's what emerged. So for me, it's very much about that kind of quiet aspect of, so, you know, we've got feminism, which talks very much about women's rights to do whatever it is they want to do in the outer world. But for me, she, in this poem, represents the inner, the quiet virtues, if you like, always there for us. We're not always there for them, but they're always there and active in our lives all the time, and I wanted to celebrate that in the poem. So that's what, you know, I got, the rough draft just came pouring out, and that's what I found myself wanting to bring out. Mark: And the title, ‘Recalling Brigid', you know, I was thinking about that word ‘recalling', because it could mean ‘remembering', but it could also mean ‘calling' or ‘summoning'. Orna: Yes, deliberately chosen for both of those meanings, yes, very well spotted there, poetry reader. Mark: Well, you know, this is a very ancient function of poetry, isn't it? And it's where it kind of shades into charm or spells, to summon, or invoke a spirit or some kind of otherworldly creature or being. Orna: Absolutely. I think you've got the heart of what the poem is trying to do there. It is about calling forth, something, as I say, that's there, that we're all, you know, is there for all of us in our lives, but that we're not always aware of it. And our culture actively stifles it, and makes it seem like it's less important than it is. And so, yes, very much exactly all the words, the beautiful words you've just used there. I was hoping this poem would tap into that. Mark: Very much. And, you know, the beginning, ‘Queen of Queens, they called her'. So presumably this is in the old pre-Christian days, ‘they called her'. So there's that word ‘calling' again, and you give us the kind of the gloss, ‘in the old books, the Irish Mary'. And then you introduce the takeover: ‘such was the sort of woman / preferred as the takeover was made:' And then you get the other version. And then you've got: ‘Brigid said nothing to any of this,' which I think is really wonderful that she keeps – so you've gone from ‘they' in the past, ‘what they called her'. And then Brigid keeping her own counsel about this. She said nothing to any of this, ‘the reverence, or the upbraidings'. And then we get you where you say, ‘I am not as womanly / a woman as she. / So I say: let us see. / Let us say how she is the one. // It is she who conceives, and she who does bear.' Lovely, beautiful repetitions and shifts in there. So you really, you step forward into the poem at that point. Orna: I really wanted to, to place myself in relation to, to her and to all the women in this collection. Which isn't out yet, by the way, it's not finished. So I've got another three to go. No, I really wanted to place myself in relation to the women in the poems. That was an important part of the project for me. And I do that, you know, lots of different ways. But this poem, the first one is very much about, I suppose, calling out, you know, the ‘recalling' that you were talking about there a few moments ago, calling out the qualities. That we tend to overlook and that are attributed to Brigid as a womanly woman. And so, yeah, that's, that's what I was saying. I'm more of a feminist woman who is regarded by some as less womanly. so there is a, that's an interesting debate for me. That's a very interesting, particularly now at this time, I think, it's very interesting to talk about, you know, what is a feminist and what is feminism. And I personally believe in feminisms, lots of different, you know, it's multiple sort of thing. But these poems are born of a, you know, a feminist poet's sensibility without a doubt. So in this first one, I just wanted to call out, you know, the womanly virtues, if you like. Mark: Yeah. So I get a sense of you kind of starting as a tuning fork for different ideas and voices, calling her different things. And then you shift into, ‘Let us see. / Let us say…' I love the description earlier on where you said it's a celebration because by the end of the poem, it really is. It's all her attributes, isn't it? ‘It is she who conceives / and she who does bear.' And so on. Again, how easy was it for you to let go and, and, and step into that? Because it's kind of a thing that it's a little bit, it's not what we associate with modern poetry, is it? Orna: No, not at all. Not at all. But I had to ages ago, give up on modern poetry. If I wanted to write poetry, I had to drop so much, so much that I learned, you know, English Lit. was my original degree. And, you know, I, I was in love with poetry from a very young age. So, I learned everything I could about everything. And then I had to drop it all because I didn't write, I didn't write any poems between the end of my teens and my early forties when I lost a very dear friend. And then when I went on, shortly afterwards to, develop breast cancer. So those two things together unlocked the poetry gates and poems came again. And the kind of poems that came, very often were not, poems that they're not fashionable in that sense. You know, they're not what poetry tends to be. And from that point, in our time, if you like, some are, some, some do come that way, but an awful lot don't. And, for that reason, I'm just so entirely delighted to be able to self-publish because they speak to readers and say they communicate. And to me, that's what matters. And I don't have to worry about being accepted by a poetry establishment at all. I don't spend any time whatsoever thinking about that. I work at the craft, but I, it's for myself and for the poem and for the reader, but not to please anybody that, you know, would be a gatekeeper of any kind. Mark: Well, some listeners will know this – you are very much known as a champion of opportunity and diversity in publishing for writers and self-publishing, independent publishing, however you call it. But I think what I'd like to focus on here is the fact that, you know, by writing a poem like this, you highlight the conventions that we have in modern poetry. And it's easy to see the conventions of the past, but maybe not so much the ones in the present. And I love the fact that you've just sidestepped that or ignored that and written the poem that came to you. Orna: Yes. Yes, very much did and do. And like I said, I don't spend, I did at one time spend time thinking about this, but I spend absolutely no time now thinking about this at all. Mark: That's so refreshing to hear! [Laughter] Orna: No, it's, it's great. It's certainly a liberation. I think very much about the poem and what the poem needs and wants from me. And I make mistakes. I, you know, I don't do well on some poems. I go back, rewrite, sometimes years later, sometimes after they're published. so yeah. It's not that I don't think about form or structure or, you know, all of the things that poets think about but I only think about the master, you know, is the poem itself or the reader possibly or the communication between the bridge between me and the reader, something like that. But yeah, it's liberating for sure. Mark: And how did that play out in this poem? I mean, how close is this to the original draft that came to you? Orna: It's one of the poems that's closest to the original. It kind of arrived and I didn't want to play with it too much at all. So yeah, it, I just left it be. I let it be what I wanted to be because for me there are echoes in this poem as well of Old Irish poetry and ways of writing. you know, that if you, I don't know if you've ever had the pleasure of reading Old Irish poetry in translation? Mark: Yes. Orna: So, you know, that sense of I'm reading something from a completely different mind. It's, it isn't just that the, you know, the structures are different or whatever. It's like the whole mind and sensibility is something else. And that was one of the things I wanted to slightly have to retain in this poem. You know, I felt that it, it carries some of that forward and I wanted to, to leave it there as an echo. Mark: Yeah. Quite a lot of those Old Irish poems have a kind of a litany, a list of attributes of the poet or their beloved or the divine being that they're evoking. And that comes across very strongly here. Orna: Yeah, definitely. That's sort of a list of, which to the modern ear can sound obvious and, you know, just not poetry really. So yeah, I think that's one of the qualities that it carries. Mark: And I love the kind of the incantatory repetitive thing. Like I was saying about the, ‘So I say: let us see. / Let us say', and then ‘It is she… It is she… she who', you know, it just carries you along. It's got a hypnotic quality to it. Orna: Yes. And the she part, you know, the emphasizing the feminine, I suppose, touch of the divine feminine, but very much the physical feminine, and activities as well. So, you know, women held the role of birth and death very much in Irish culture again, up to really quite recently. I remember that, in my own youth and okay, I am getting on a bit, but, it's still, you know, it was quite late in time where, women did the laying out for burial. They did the keening of the, the wake, all of that. I remember very well. so at the beginning and end of life at the thresholds, if you like, that was a woman's job. And, that was lost, I think in the takeover. But I still think all the emotional labour around those thresholds are still very much held by women, you know, silently and quietly. And yeah, Brigid doesn't shout about it, but in this poem, I want to call it. Mark: Yeah. Recall it. Okay. And then let's go back to Hastings, which we touched on earlier, because this, okay. It's, it's going to be in your collection. It's been published in a wonderful anthology poetry from Hastings called Poet Town. Tell us a bit about that book and how you came to be involved. Orna: Yeah. So I heard about it and, Richard [Newham Sullivan] wonderful, poet and, publisher and general literary person. He now lives in New York, but he grew up in Hastings and lived here for many years. And it was a kind of a homesickness project he told me later, for him just. But he carried the idea in his mind for a very long time. He wanted to, he knew that there was an incredible, poetic history in Hastings, which people were not aware of. So Hastings is very well known. Hastings and St. Leonard's, where I live, both are very well known as arty kind of towns. Visual arts are very, very visible here, and all sorts of marvellous things going on, and music as well, there's brilliant Fat Tuesday music festival every year, but there's also, there's classical music, music in the pubs, music coming out your ears, literally. But very little about the literary life that goes on here, and lots of writers living here. And so Richard wanted to just bring forward the poetry side of that. And so he decided it's a passion project for him. He decided to, he worked with the publisher, a small publisher here, in Hastings for it. It's Moth Light Press. And he set out to gather as many living poets into one collection as he could. And this is where I was interested because as, I'm a historical novelist as well, so history is big for me, and I was really interested in the history, you know, the history and the poets who had lived here. There were quite a few. It's not every day you find yourself in an anthology with Lord Byron and Keats, and, two Rossetti's! So that was a joy, discovering all the poets who, had a connection to Hastings back to, I think he went back to the early 1800s with it. So, yeah, it's been a huge success, and, people are loving the book, and it has really brought poetry, brought pride, I think, to the poetry community in the town, which is lovely. Mark: Yeah, I'm really enjoying it, and I love the fact that it's got the old and the new. Because, of course, that's what I do here on A Mouthful of Air. I always think the ghosts of poetry past are always present in the work of the living. I hadn't realized what a deep and rich poetic history Hastings had. So, yeah, Poet Town, a great anthology. Do check that out while you're waiting for Orna's sequence to come to light. And Orna, thank you so much for sharing such a remarkable poem and distinctive take on the poet's craft. And I think this would be a good point to listen to the poem again, and appreciate your praise and celebration once more. Orna: Thanks so much, Mark, for having me. I really enjoyed it. Thank you. Recalling Brigid by Orna Ross Queen of queens, they called herin the old books, the Irish Mary.Never washed her hands, nor her headin sight of a man, never lookedinto a man's face. She was goodwith the poor, multiplied food,gave ale to lepers. Among birds,call her dove; among trees, a vine.A sun among stars. Such was the sort of womanpreferred as the takeover was made:consecrated cask, throne to His glory,intercessor. Brigid said nothing to any of this,the reverence, or the upbraidings.Her realm is the lacuna,silence her sceptre,her own way of life its own witness. Out of desire, the lure of lustor the dust of great deeds,she was distorted:to consort, mother-virgin,to victim or whore. I am not as womanlya woman as she.So I say: Let us see.Let us say how she is the one. It is she who conceivesand she who does bear.She who knitted us in the womband who will cradle our tomb-fraying. Daily she offers her arms,clothes us in compassion,smiles as we wrigglefor baubles. Yes, it is she who lifts you aloftto whisper through your ears,to kiss your eyes,to touch her coolingcheek to your cheek. Poet Town: The Poetry of Hastings & Thereabouts ‘Recalling Brigid' is from Poet Town: The Poetry of Hasting & Thereabouts, published by Moth Light Press. Available from: Poet Town is available from: The publisher: Moth Light Press Amazon: UK | US Orna Ross Orna Ross is an award-winning poet and novelist. Her poetry, rooted in Irish heritage and mindfulness practice, explores love, loss, creativity, and spiritual renewal through a female lens. As founder-director of the Alliance of Independent Authors (ALLi), she champions creative freedom for poets and writers. Her forthcoming collection, And Then Came the Beginning—Poems of Iconic Irish Women, Ancient and Modern—is available for pre-order at OrnaRoss.com/TheBeginning. A Mouthful of Air – the podcast This is a transcript of an episode of A Mouthful of Air – a poetry podcast hosted by Mark McGuinness. New episodes are released every other Tuesday. You can hear every episode of the podcast via Apple, Spotify, Google Podcasts or your favourite app. You can have a full transcript of every new episode sent to you via email. The music and soundscapes for the show are created by Javier Weyler. Sound production is by Breaking Waves and visual identity by Irene Hoffman. A Mouthful of Air is produced by The 21st Century Creative, with support from Arts Council England via a National Lottery Project Grant. Listen to the show You can listen and subscribe to A Mouthful of Air on all the main podcast platforms Related Episodes Recalling Brigid by Orna Ross Orna Ross reads and discusses ‘Recalling Brigid’ from Poet Town. From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Episode 85 From The Rime of the Ancient Mariner by Samuel Taylor Coleridge Mark McGuinness reads and discusses a passage from ‘The Rime of the Ancient Mariner' by Samuel Taylor Coleridge.Poet Samuel Taylor ColeridgeReading and commentary by Mark McGuinnessFrom... Alchemy by Gregory Leadbetter Episode 84 Alchemy by Gregory Leadbetter Gregory Leadbetter reads ‘Alchemy' and discusses the poem with Mark McGuinness.This poem is from: The Infernal Garden by Gregory LeadbetterAvailable from: The Infernal Garden is available from: The publisher: Nine Arches...

As the Government looks to appoint a new Freelance Champion for the creative industries we delve into the findings of the latest State of the Nations report from Creative PEC on Arts, Culture and Heritage workforce.Dr Mark Taylor will unveil the findings and plot the freelancer journey in the creative industries. A panel of guests including Yasmin Khan, Director for Individual Practitioners, Arts Council England, Philippa Childs, Deputy General Secretary, of the Broadcasting, Entertainment, Communications and Theatre Union, Amy Tarr, Head of Policy and Public Affairs, Creative UK, and Alexander Jacob, freelance television director, will explore how creative freelancers can be better supported and what the priorities should be for the new government champion. Chaired by Bernard Hay, Head of Policy, Creative PEC. Followed by Q&A and soft drinks reception.The new State of the Nations report, Who stays and who leaves?: Mapping arts, culture and heritage careers, will be released and available to download on the day.The Creative PEC is funded by the AHRC and led by Newcastle University with the RSA.Speakers:Speakers:Yasmin Khan, Director for Individual Practitioners, Arts Council EnglandPhilippa Childs, Head of BectuAmy Tarr, Associate Director, Policy & Research, Creative UKDr Mark Taylor, Research Lead for Arts, Culture and Heritage at Creative PEC, and Senior Lecturer in Quantitative Methods, University of SheffieldAlexander Jacob, Freelance television directorChair:Bernard Hay, Head of Policy, Creative PECDonate to the RSA: https://thersa.co/3ZyPOEaBecome an RSA Events sponsor: https://utm.guru/ueembFollow RSA on Instagram: https://www.instagram.com/thersaorg/Like RSA on Facebook: https://www.facebook.com/theRSAorg/Listen to RSA Events podcasts: https://bit.ly/35EyQYUJoin our Fellowship: https://www.thersa.org/fellowship/join

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by PenTo Print.Our poem of the month episode for November features a short poem by writer and musician Destiny Hankerson.  The poem is called “Revolution!” and it is performed and recorded by Destiny. You can find out more about Destiny Hankerson by visiting her website here https://destinyhankerson.carrd.co/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England.

Send us a textWelcome to the second episode of season six, in conversation with Professor Tom Shakespeare. Professor Shakespeare's Bio:Tom Shakespeare is a sociologist and bioethicist. He is Professor of Disability Research at London School of Hygiene and Tropical Medicine, having worked at several UK universities and WHO. He is a former member of Nuffield Council on Bioethics and Arts Council England. His books include The Sexual Politics of Disability (1996) and Disability Rights and Wrongs (2006) and most recently the novels The Ha-ha (2024) and The Ends (2025).The Nuffield Council on Bioethics report that we discussed is called Non-invasive prenatal testing: ethical issues and can be found via this link: https://www.nuffieldbioethics.org/publication/non-invasive-prenatal-testing-ethical-issues/Podcast information:We have not included any patient identifiable information, and this podcast is intended for professional education rather than patient information (although welcome anyone interested in the field to listen). Please get in touch with feedback or suggestions for future guests or topics: conversationsinfetalmed@gmail.com, or via X, Bluesky or Instagram via @fetalmedcast.Music by Crowander ('Acoustic romance') used under creative commons licence. Podcast created, hosted and edited by Dr Jane Currie.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen to Print For this month's Listener Contribution, we are joined by novelist and Write On! Deputy Editor Claire Buss for a look at the world of audio books and how and why writers should create them for their books.  Claire talks us through her process and we hear an excerpt from the audio book of her novel ‘The Rose Thief'. You can find out more about Claire and purchase copies of her books and audio books by visiting her linktree here  https://linktr.ee/ClaireBuss You can order a copy of ‘The Rose Thief' audiobook here https://books2read.com/u/mBNNEN Follow Claire on Instagram here https://www.instagram.com/grasshopper2407/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen to Print. This podcast is produced using public funding from Arts Council England.

Why are so many prisoners being released from prison by mistake? What happens if Arts Council England goes under? And what can the Democrats learn from Mamdani's New York City mayoral election victory?Rebecca Moore is joined by The Observer's Deputy Sports Editor, Andrew Butler, Arts and Media Editor, Vanessa Thorpe, and reporter Jon Ungoed-Thomas as they pitch their top stories of the day.Must Reads:Days of wine and noses: the life of a critic**We want to hear what you think! Email us at: newsmeeting@observer.co.uk Follow us on Social Media: @ObserverUK on X @theobserveruk on Instagram and TikTok@theobserveruk.bsky.social‬ on bluesky Host: Rebecca MooreProducer: Amalie SortlandExecutive Producers: Matt Russell and Poppy BullardTo find out more about The Observer:Subscribe to TheObserver+ on Apple Podcasts for early access and ad-free contentHead to our website observer.co.uk Download the Tortoise app – for a listening experience curated by our journalists Hosted on Acast. See acast.com/privacy for more information.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pent o Print Our November tips are from Write On! Associate Editor Clare Cooper.  Working in magazine publishing for over 46 years, the last 29 of which were spent very happily embedded in the Fiction Department of Woman's Weekly Magazine, Clare is now a regular contributor and competition judge for Pen to Print. For this conversation, Clare was alongside Write On! Editor, Madeleine White. You can find out more about Clare Cooper and her work in this Write On! interview  https://pentoprint.org/write-on-interviews-writer-clare-cooper/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to:  https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen to Print. This podcast is produced using public funding from Arts Council England. 

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pento Print. For our ‘Write On! Audio And Friends' feature for October we are brining you an episode of The Writing Worlds Podcast which features best-selling author Joanne Harris.  Joanne Harris came to widespread popular attention with the publication of her novel ‘Chocolat' which became a highly successful film starring Juliette Binoche and Johnny Depp.  Joanne's other genre-spanning work includes ‘The Gospel of Loki' and ‘The Strawberry Thief' and ‘Vianne',  sequels to ‘Chocolat'You can find out more about Joanne Harris and her work by visiting her website here https://www.joanne-harris.co.uk/ The Writing Worlds Podcast is a show dedicated to the art of world building in fiction and is presented by award-winning audio drama writer and novelist Emily Inkpen and Write On! Audio producer Chris Gregory.  You can listen to more episodes of Writing Worlds and subscribe to the podcast here https://pod.link/1812994751  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England.

“Being read to as a small child and reading yourself when you're older can help you be healthier as an adult and even live longer.” – Franziska Liebig, Arts Council EnglandIn this exciting episode, Krish dives into Alex Rider: Stormbreaker by Anthony Horowitz, a fast-paced spy adventure filled with gadgets, danger and daring missions. When fourteen-year-old Alex discovers his uncle's death was not an accident, he is thrown into a world of secret agents, powerful billionaires and high stakes missions that test his courage at every turn.Krish also talks with Franziska Liebig from Arts Council England, the organisation dedicated to ensuring everyone can experience the magic of books and creativity. Fran shares how reading can change lives by improving wellbeing, sparking imagination and helping every child find their own story. Together, they explore the power of books to inspire empathy, confidence and lifelong curiosity.Key topics covered in this episode:Alex Rider: Stormbreaker, thrilling read for young spies and adventurersHow reading builds creativity, imagination and wellbeingWhy every kind of reading counts, from comics to novelsThe importance of seeing yourself represented in storiesExciting reading initiatives ahead of the National Year of Reading 2026Follow Arts Council EnglandInstagram: https://www.instagram.com/aceagrams/ Website: https://www.artscouncil.org.uk Follow Author Anthony HorowitzWebsite: https://www.anthonyhorowitz.com Facebook: https://www.facebook.com/AnthonyHorowitzAuthor Follow KrishInstagram: https://www.instagram.com/krishthepodcasterFollow The Fourth BookmarkInstagram: https://www.instagram.com/thefourthbookmark

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by PenTo Print.For our ‘Poem Of The Month' episode for October we are brining you two poems.  We'll start with ‘Sunset Dining At Nature's Table' by Gloria Maloney which is read by Write On! Editor Madeleine White and won 2nd place in the Barn Owl Trust Poetry Competition 2025 You can read Gloria's poem in Volume 8 Wildlife Words Anthology, available from the online bookshop: www.barnowltrust.org.uk Our second poem is by Afsana Elanko, a regular contributor to Write on and a member of the Write ON! team.  Her poem is called "The Revolution Of Play – An Epic Ode To Identity, Imagination And Inner Spirit" . It is written and performed by Afsana. Thank you to Gloria Maloney and Afsana Elanka for sharing their poems with us in this episode of Write On Audio. You can find out more about Gloria Maloney and her work here https://pentoprint.org/write-on-interviews-writer-gloria-maloney/And read more about Afsana Elanko here https://pentoprint.org/tag/dr-afsana-elanko/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England. 

Joz Norris is an acclaimed comedy writer and performer. He makes unusual shows for the Edinburgh Fringe including the smash hit Joz Norris Is Dead. Long Live Mr Fruit Salad. (winner of the Comedians' Choice Award for Best Show, nominee for the Malcolm Hardee Award for Comic Originality, the Chortle Award for Best Music & Variety Act, and longlisted for the Edinburgh Comedy Award) and Blink (one of the Evening Standard's Top 20 comedy shows of 2022, and sponsored by Arts Council England), both of which transferred to multiple runs at Soho Theatre. In 2020 he adapted You Build The Thing You Think You Are, which would have been a new live show, into a feature film streamed online which was acclaimed as one of the comedy highlights of the year by both the Guardian and the Telegraph. His original sitcom for BBC Radio 4, The Dream Factory, co-written with Miranda Holms, was a radio pick of the week in the Observer, the Times, the Telegraph and the Mail on Sunday, and was featured on Radio 4's Comedy of the Week podcast, and his Radio 4 comedy special A Small Talk On Small Talk was a Guardian Audio Pick of the Week. He was also the co-host and co-creator of BBC Radio 4's Useless Millennials with Roxy Dunn, and has guest starred in Radio 4's The Many Wrongs Of Lord Christian Brighty; The Now Show and The Train At Platform 4.Joz Norris is our guest in episode 535 of My Time Capsule and chats to Michael Fenton Stevens about the five things he'd like to put in a time capsule; four he'd like to preserve and one he'd like to bury and never have to think about again .Tickets for Joz's tour are available here - https://www.joznorris.co.uk/you-wait-time-passes-uk-tour .Follow Joz Norris on Instagram & Twitter/X: @JozNorris .Follow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people .To support this podcast, get all episodes ad-free and a bonus episode every Wednesday of "My Time Capsule The Debrief', please sign up here - https://mytimecapsule.supercast.com. All money goes straight into the making of the podcast. Hosted on Acast. See acast.com/privacy for more information.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen To Print.Our listener contribution this month is from Costanza Casati winner of the Best Published Novel in the Wilbur & Niso Smith Adventure Writing Prize for her novel ‘Babylonia'. Costanza was in conversation with Charlotte Maddox of the Wilbur & Niso Smith Foundation.Find out more about Costanza Casati and order a copy of ‘Babylonia' by visiting her author page on Penguin's website here https://www.penguin.co.uk/authors/288834/costanza-casatiFollow Costanza on Instagram here https://www.instagram.com/costanzacasati And find out more about The Wilbur & Niso Smith Foundation via their website https://www.wilbur-niso-smithfoundation.org/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to:  https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by PenTo Print.For our first podcast of October we have writing advice from poets and Write On! team members Eithne Cullen and Mary Walsh.  These tips are about writing retreats and were recorded at Valance House. Find out more about Valence House and plan a visit via their website here https://valencehousecollections.co.uk/ You can find out more about Eithne Cullen by following her on Instagram here https://www.instagram.com/eithnecullen57/ and read more about Mary and her work here https://pentoprint.org/writer-of-the-month-mary-walsh/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen To Print.Our September interview is with social commentator, activist and campaigner Patrick Vernon OBE.  Born in Wolverhampton to a Jamaican family.  Writing for 'The Guardian', 'The Voice', and 'Black History Month Magazine', Patrick is also a film maker and he directed and produced "A Charmed Life" a documentary about the Caribbean contribution in the UK during the second world war.  In 2020 Patrick published a book called “100 Great Black Britons” which was the culmination of a campaign prompted by the almost complete absence of black people from a list of the 100 greatest Britons published by the BBC.  For this conversation, Patrick was alongside interviewer Ellie M Blake and Write On! Editor Madeleine White. Find out more about Patrick Vernon and his work by visiting his website here https://patrickvernon.org.uk/ We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England. 

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by PenTo Print. In this week's episode we're featuring the Barking Carnival, an annual event featuring music, food, costumes  and entertainment from the London Borough of Barking and Dagenhgam.  The 2025 Carnival took place on 25th July.  In this short review of The Carnival we hear voices from organisers, attendees and partners of the Carnival.  The first voice you'll hear is that of councillor Irma Freeborn. To find out more about Barking Carnival please visit https://pentoprint.org/barking-dagenham-carnival-2025/ And to find out more about the work of Barking and Dagenham Council please visit their website here: https://www.lbbd.gov.uk/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to: https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England. 

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen To Print. Our September Listener Contribution is from poet and regular contributor to Write On!, Mary Walsh.  In this selection of poems celebrating her Irish ancestry, Mary reads from “Threads of Home", her new poetry collection published by Constellations Literary Consultancy and offers a glimpse into the next Write On! theme, (R)Evolution linking a reflection on her past into who she is today. Find out more about Mary and her work here  https://pentoprint.org/writer-of-the-month-mary-walsh/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to:  https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England.

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen To Print. Our writing tips this month come from Libraro and its CEO and founder Arsim Shillova. Libraro is a community-driven platform aiming to democratise the literary world by empowering writers to share their stories securely, readers to influence what gets published, and industry professionals to discover tomorrow's bestsellers.  For this conversation, Libraro's founder Arsim Shillova was alongside Holly King and Write On! Editor Madeleine White. You can find out more about Libraro and Arsim Shillova by visiting their website  https://app.libraro.com/feedWe're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to:  https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England. 

Thank you for listening to Write On! Audio, the podcast for writers everywhere brought to you by Pen To Print. The second of our episodes featuring award winning writing from the recent Pen to Print awards features winners from the three main categories at the awards. We start with the winning poem which is ‘When The Streetlights Blinked to Life' by Gillian Davies and it's read by our presenter, Tiffany Clare .The next pieces is an excerpt from the winning short story which is called ‘Mouse' by Lianne Warr.  it is read by Emily Inkpen .Our final award winner is from the Audio Play Competition.  This is a short excerpt from ‘The Angry House' by Thomas Wrightson featuring the voices of Chris Gregory and Emily Inkpen. You'll be able to hear the fully produced audio play of ‘The Angry House' on this podcast later this year. Music and soundscapes in all the recordings are by our producer Chris Gregory. Congratulations to all of our winners.  If you'd like to find out more about the Pen To Print competitions and perhaps enter in 2026 please visit our website: https://pentoprint.org/  We're always delighted to read your contributions so if you'd like to see your words in Write On! or hear them on this podcast please get in touch. Please submit to:  https://pentoprint.org/get-involved/submit-to-write-on/ Thank you for listening to Write On! Audio.  This edition has been presented by Tiffany Clare and produced by Chris Gregory.  Write On! Audio is an Alternative Stories production for Pen To Print. This podcast is produced using public funding from Arts Council England.

rWotD Episode 3018: Durham University Oriental Museum Welcome to random Wiki of the Day, your journey through Wikipedia's vast and varied content, one random article at a time.The random article for Friday, 8 August 2025, is Durham University Oriental Museum.The Oriental Museum, formerly the Gulbenkian Museum of Oriental Art and Archaeology, is a museum of the University of Durham in England. The museum has a collection of more than 23,500 Chinese, Egyptian, Korean, Indian, Japanese and other far east and Asian artefacts. The museum was founded due to the need to house an increasing collection of Oriental artefacts used by the School of Oriental Studies, that were previously housed around the university. The museum's Chinese and Egyptian collections were 'designated' by the Museums, Libraries and Archives Council (MLA), now the Arts Council England as being of "national and international importance".This recording reflects the Wikipedia text as of 01:09 UTC on Friday, 8 August 2025.For the full current version of the article, see Durham University Oriental Museum on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm neural Kendra.

In this REWIND episode Gary Mansfield speaks to Simon Callery (@Simon.Callery) Simon Callery is known for his innovative approach to painting, which bridges the gap between two-dimensional surfaces and three-dimensional space. Born in London in 1960, Callery studied at Campion School and later at Cardiff College of Art. His work challenges traditional definitions of painting by incorporating sculptural elements—his canvases are often cut, pierced, folded, and stained with intense, earthy pigments. These works possess a physicality that invites viewers to engage not only visually but also spatially.Callery's artistic process is deeply connected to the landscape and archaeology, particularly the British countryside. Collaborations with archaeologists have influenced his method of working directly on site, allowing his paintings to absorb the environment both physically and conceptually. His paintings are often large in scale, with surfaces that appear worn, layered, and tactile—echoing the processes of erosion and excavation.By rejecting the illusionistic space of traditional painting, Callery creates works that are both objects and experiences. He has exhibited widely across the UK and Europe, with works held in public collections such as the Tate and Arts Council England. To Support this podcast from as little as £3 per month: www.patreon/ministryofarts For full line up of confirmed artists go to https://www.ministryofarts.co.ukEmail: ministryofartsorg@gmail.comSocial Media: @ministryofartsorg Hosted on Acast. See acast.com/privacy for more information.

Eric Spring in 't Veld, the CEO and creative director of Mama Bazooka, is interviewed by Sarah Dodd (Co-Founder, Escape Room Industry Conference), one of the world's most renowned escape enthusiasts. In this interview, Eric will share his insights on escape room design, the journey of creating The Dome, and much more.Founded in 2013 by Eric Spring in 't Veld (CEO and Creative Director), Mama Bazooka pioneered real-life escape experiences in the Netherlands. Their 2018 creation, THE DOME, has garnered international acclaim, achieving a top ranking on Terpeca's prestigious list. This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

5 years after first recorded, we're rereleasing this episode of our first dance flavoured mini series - Ballet for the 21st Century. We've chosen to revisit the last ep in that series, Boys Dance Too, because having just discussed the film Billy Elliot we thought it was worth digging into some themes that came up in more depth.This episode has been shortened from its original length...--------------------Why is the bullying of boys who want to take ballet so persistent? Emma Lister seeks to answer this question and why their love of dance is often defended with the usual football comparison/"real men lift women" trope. In the final episode of of our mini-series, Ballet for the Twenty-first Century, we'll open up topics such as: body image, casting, role models, gendered ballet technique, The Billy Elliot Effect and homophobia.Special guests: Denzil Bailey, Richard Bermange, James Forbat, Matthew Paluch and Mark Samaras.REFERENCES:M. Paluch. (2019). There's an elephant in the room and it's gay.... Dancing Times. October 2019, p29-31. www.dancing-times.co.ukThis mini-series  has been made possible by a grant  using public funding by the National Lottery through Arts Council England.

Gijs Geers, founder of DarkPark, is a pioneering force in the escape room industry. In an inspiring presentation, he unveils the secret ingredient behind DarkPark's unforgettable experiences, revealing for the first time how an invisible layer leaves a lasting impact on players.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Take a deep dive with Jeroen van Hasselt (Co-Founder, Entered), into the trials and triumphs of producing a unique, 200-minute-long game experience such as Demise of the Gricers, that pushes the boundaries of conventional escape game design. Explore the intricacies of world-building, next-level player equipment, narrative & system design, player engagement and training your actors to deliver upon a seamless, organic real-life immersive experience.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Join Lukas Rancher (Crime Runners), Dan Wiseman (The Detective Society), Bob & Nikki Kimber (Hysteria Escape Rooms), and Andrew Preble (Escape My Room) as they explore the advantages of episodic storytelling and how each approaches it differently. The panel will discuss why they choose this format, how it fosters player engagement, and the unique challenges it presents from both creative and business perspectives. Gain valuable insights and advice for crafting your own episodic stories in immersive experiences.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Join Creative Director Ivan Carić and performer Emily Carding as they share the challenges and lessons from running a 24-hour interactive experience set in the eerie world of horror and weird fiction. Discover how they blended immersive theatre, deconstructed storytelling, puzzles, and hospitality within the atmospheric setting of a 17th-century historic house to create a truly unforgettable experience.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Adrian Hon (Game Designer and Author) is a prolific maker, writer and fan within the Immersive Entertainment space who has spent the past two years attending, assessing and discussing dozens of experiences around the world. He will be sharing key trends that are resonating well with audiences within the sector, common pitfalls and traps that he has identified across immersive strands and areas of learning and opportunities that could be adopted to offer more relevant, resonant and sustainable experiences for a spectrum of emerging to seasoned immersive experience goers. The talk also draws upon his recent interviews with founders and leaders of the biggest immersive experience organisations in the world.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Jenny McNeil takes a deep dive into how to use food as a tool for conveying narrative and engaging the imagination. From understanding the key emotions that food and communal eating extract, to discussing how truly immersive food content can sit within larger scale experiences. Finally, we'll cover how food can be monetised within a customer or branded experience.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Sami Hamid from Glitch Studios pulls back the curtain and reveals how wearable XR headsets can be implemented into live staged theatre performances, bringing virtual characters and set pieces to life alongside real actors. This talk touches upon the technical implementation of AR, how it works with your AV setup, how real actors can act alongside virtual actors, and how to achieve all this without blowing up your budget.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance. Hosted on Acast. See acast.com/privacy for more information.

Andy Barnes (Director, Entourage), Mairi Nolan (Puzzle Game Designer), Tom Lionetti-Maguire (Founder of Little Lion Entertainment), Farouk Dean (Co-Founder of NEXUS and Cellar Door) and Mark Sarfo Kantanka (Co-Founder of NEXUS and Cellar Door) in an open Q&A session, for our panelists and the audience to wrestle with the problems associated with developing your creative idea into a sustainable business. In this open discussion we're led by the audience and attempt to answer questions, offer advice and guidance and share our experiences developing live immersive work.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Join Michael Badelt from INTYA Creative as he explores turning mistakes into a success: How a small immersive scare attraction went from "Okay“ to "Oh Wow!!“Hear about the sometimes surprising learnings made through the iterations and how those were incorporated back into the show to create an experience that was not just entertaining but had a hidden meaning that was engaging audiences even after the show was over. We will also look at some of the basics behind the emotional concept of fear, its applications and why creating a rather sneaky rollercoaster across the full emotional spectrum might actually be scarier than just going "Boo!"This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Simon Brind discusses concepts of Agency and Alibi in the creation of Larp and their connections to creating meaningful experiences for participants. In this talk he explores 'Agency' - the ability of an active participant in a story to make decisions that change the story in meaningful ways (and what that means for dramaturgy), 'Alibi' '- the idea that the participant experience can be designed in such a way that they can act or behave in ways that they would not normally act and 'Bleed' - the transfer of experience from participant to character or from character to participant.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Stephen May has a penchant for reimagining the lives of historical figures and his new novel, ‘Green Ink’, is a case in point. May evocatively explores what could have happened on firebrand politician Victor Grayson’s last day. The former socialist MP suspiciously disappeared one night in September 1920. May joins Georgina Godwin to share insights on writing, creativity and his role at Arts Council England.See omnystudio.com/listener for privacy information.

In this talk, Megan Clifton (Head of Narrative, Boomtown Fair) will discuss her learnings in her three years holding the storyline, the challenges of managing a truly collaborative fictional world, and how the ground-up model of interactive storytelling continues to find its feet.Boomtown is the largest interactive theatre in the world, aiming to create an accessible, playable space where the audience can imagine new versions of themselves, new futures for themselves, try new realities on for size and become what they've always dreamed of becoming. Starting in 2009, Boomtown has kept a narrative throughline throughout, becoming deeper, more intricate and more multifaceted year-on-year. This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Join Ollie Jones (Co-Founder of SWAMP) and James Seager (Creative Director of Les Enfants Terribles) to learn more about their journey from entertainment providers to established brand collaborators as they share how they made a meaningful transition, what they wish they had known in the early days and the benefits, opportunities and challenges of the brand engagement and immersive entertainment worlds coming together.Both Les Enfants Terribles & SWAMP have a long legacy of delivering award-winning, innovative Immersive Entertainment experiences, leading to their signature styles and expertise being sought out by brands for experiential campaigns. This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

In this session, Jessie Fu (Senior Manager of Strategy and Partnerships) highlights what Fever have learned about how new technologies are empowering immersive experience creators. Jessi shares topline data on key components and considerations that have driven a show's successes from conception to execution, and discusses how integrating commercial and technical strategies can reduce risk. Jessie also unpacks how the strategic use of data and demand generation can better meet audience expectations and improve commercial performance. Additionally, she provides insights into how some of their experiences have scaled globally. This session was designed to equip creative leaders with the tools to blend artistic vision with business acumen, using technology as the connecting force.This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Les Seddon-Brown (CEO and producer of Rematch) takes us through the makings of this unique show and how they were able to engage a higher-than-average attendance by first time Immersive goers of all ages and members of the global majority and dive into how the show resonated with a broad and diverse cast, crew, audiences and communities alike.Rematch remagine the greatest stories in sport as live immersive events. Part immersive theatre, part festival, Rematch allows audiences to time-travel back to experience these stories as if they were there. Over 78 shows, Rumble in the Jungle Rematch gave fans in London the opportunity to travel back to Zaire 1974 to witness the Greatest boxing fight in history between Muhammad Ali and George Foreman. This talk was recorded at the Immersive Experience Network Summit in October 2024 and is supported by Arts Council England and our industry partners Illusion Design & Construct, Mance Communications, White Light, Deterministic, Immersif, d&b audiotechnik, Scene2, Little Lion Entertainment, Entourage, and Vista Insurance.Discover more content from IEN: https://immersiveexperience.network/articles/ Hosted on Acast. See acast.com/privacy for more information.

Susan Barker is the author of four books. Her third novel, The Incarnations, was a New York Times Editors' Choice and Notable Book, a Kirkus Reviews' Top Ten Book of the Year, and was shortlisted for the Kirkus Prize for Fiction. On this episode of Little Atoms she talks to Neil Denny about her latest novel Old Soul. An excerpt from Old Soul won a Northern Writers' Award for Fiction in 2020, as well as funding from Arts Council England and The Society of Authors. Susan currently lives in Manchester, where she is a Senior Lecturer in Creative Writing at Manchester Metropolitan University. Hosted on Acast. See acast.com/privacy for more information.

How can the arts help us to encounter others? In December 2024, we were part of a fantastic live discussion at the RSA (Royal Society for Arts, Manufactures and Commerce) discussing how the arts can unlock unheard voices. This podcast brings you some highlights from the event with some extra insights and updates from our Dash Arts Artistic Director Josephine Burton. Hosted by Tom Stratton (Chief of Staff at RSA), our Artistic Director and Chief Executive Josephine Burton was joined on stage by Alan Finlayson (Professor of Political & Social Theory, University of East Anglia), Alecky Blythe (Playwright), and Dawid Konotey-Ahulu (co-founder of Redington, Mallowstreet, and 10,000 Interns). Sue Agyakwa whom we met in a speech-making workshop in Newham earlier in 2024, also, kindly, shared her speech live. Josephine and Alan shared what they've learnt from their 18 month long speech making workshop programme across the country that will culminate in Dash Arts' 'state of the nation' theatre production, Our Public House, in 2026. Our Public House is funded by Arts and Humanities Research Council (AHRC), Arts Council England, The Thistle Trust, Three Monkies Trust, and individual giving.You can watch the full event by visiting the RSA's website or their YouTube Channel. Hosted on Acast. See acast.com/privacy for more information.

Alright, this week…It's the OBS year in review! From Beyoncé showing off her Italian Baroque chops to Arts Council England continuing to be the enemy of opera, to friend of the show Anthony Roth Costanzo being tapped as Opera Philadelphia's new GD, to other friend of the show Benjamin Bernheim getting the ultimate OBS bump, 2024 certainly was…something. The team breaks it down for you… GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

The RSA and the Creative PEC and Arts Council England are delighted to launch our work into the concept of Creative Corridors: Connecting Clusters to Unleash Prosperity that sets out the emerging evidence base and suggests initial steps for local leaders.This is the live stream of the event launching a policy framework for action, setting out the underlying case for creative corridors, exploring the opportunities and barriers for growth and laying out the practical actions stemming from this to realise place-based prosperity. You will hear from the CEOs from Arts Council England, Creative PEC and the RSA, along with a fantastic panel including Shanaz Gulzar, Tom Adeyoola & Tracy Brabin. There will be a presentation of the report content followed by a wide-ranging panel discussion on Creative Corridors key themes. READ THE REPORT NOW: https://www.thersa.org/reports/creati... #CreativeCorridorsBecome an RSA Events sponsor: https://utm.guru/ueemb Follow RSA Events on Instagram: https://www.instagram.com/thersaorg/ Follow the RSA on Twitter: https://twitter.com/theRSAorg Donate to the RSA: https://thersa.co/3XPiI1k Like RSA Events on Facebook: https://www.facebook.com/theRSAorg/ Listen to RSA Events podcasts: https://bit.ly/35EyQYU Join our Fellowship: https://www.thersa.org/fellowship/join

Enjoy our special episode which captures and reflects on a discussion on new approaches to sculpture outdoors which took place at the inaugural London Sculpture Week symposium at London Metropolitan University on 25th September 2024. The discussion features contributions from the following speakers:Jo Baxendale, Visual Arts Project Manager Fourth Plinth, Greater London Authority Sarah Carrington, Deputy Director, The Line Dr Libby Heaney, Artist, Frieze Sculpture Stella Ioannou, Artistic Director, Sculpture in the City and Founding Director, LacunaKatie Schwab, Artist, The Line Vanessa da Silva, Artist, Sculpture in the City Dr Jacek Ludwig Scarso, Moderator and Deputy Director, CREATUREFatoş Üstek, Independent writer and curator, Frieze Sculpture  The LSW symposium was developed by The Line in collaboration with CREATURE at London Metropolitan University and supported by Arts Council England and Bloomberg Connects, the official digital partner for London Sculpture Week.This episode is sponsored by Bloomberg Connects, the free arts and culture app. The app gives access to over 550 free guides of museum, galleries, sculpture parks, gardens, and other art spaces around the world. Bloomberg Connects is the official digital guide for London Sculpture Week and presents free content for Frieze Sculpture, The Line, Sculpture in the City and the Fourth Plinth. Download the app to discover more.Please support our independent podcast by donating £5 hereRead Shade Art Review Shade Art Review 20% discount codeShade Podcast InstagramShade Podcast WebsiteShade Podcast is Executive produced and hosted by Lou MensahMusic King Henry IV for Shade Podcast by Brian JacksonEdit & Mix by Tess DavidsonSymposium recording by Innerar. Help support the work that goes into creating Shade Podcast. https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.