Anna Ledgard - Academia.edu (original) (raw)
Papers by Anna Ledgard
Leonardo, 2021
As the profile of the arts-and-health sector grows and interdisciplinary projects with public out... more As the profile of the arts-and-health sector grows and interdisciplinary projects with public outcomes become more common, it is important to explore roles and ways of working at the interface between different disciplines. The complex role of producer, likely to become increasingly relevant in this landscape, is here analysed. While incorporating aspects of existing roles (e.g. hospital arts manager, cultural venue participatory producer, independent creative producer, public engagement manager), the producer has a very specific raison d'être and could be defined as 'relational producer'. This role is not well understood and yet central to this field of practice.
Under the Microscopeis an arts research project conceived and led by artist Sofie Layton in partn... more Under the Microscopeis an arts research project conceived and led by artist Sofie Layton in partnership with GOSH Arts and the NIHR Biomedical Research Centre at
Kluwer Academic Publishers eBooks, Aug 11, 2006
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and through sharing creativity that understanding and social inclusiveness are promoted (Matassaro, 1997, p. 84). This chapter explores the roles of teachers and professional artists in participatory arts activities with schools and communities in London through the work of the London International Festival of Theatre (LIFT) 1 . Over two decades LIFT has been a powerful force for change in London and elsewhere pioneering an approach to producing and showcasing international experimental theatre. The biennial festival was launched in 1979 at a time when international theatre was programmed in London sporadically, and often without a sense of context or connection to the city. In the early 1990s LIFT began to rethink both how artists were commissioned and how London communities might engage with the festival, transforming itself radically in response to the changing context of the late 20 th century. In an increasingly interconnected world international festivals became the sites for debate about the role and purpose of the arts and LIFT sought to operate actively on the shifting boundary between the arts and education. From 1991‐2001 LIFT pioneered a distinct Learning Programme that has since built a resource in the city for wider participation for young and old in international performance-making with artists playing a crucial role in assisting communities to express their culture and values in meaningful ways 2 . This account will look briefly at the main principles of the LIFT Learning programme and in detail at three associated research programmes: the LIFT Teacher
CapeUK is an incubator for the development of ideas and practice in creativity and learning. A re... more CapeUK is an incubator for the development of ideas and practice in creativity and learning. A research and development agency, our focus is children and young people and those organisations and individuals who work with them. We are both a research and a practical organisation-our approaches are firmly rooted in experience. • We try out ideas • We make meaning • We support change processes • We influence policy and strategy
Routledge eBooks, Nov 29, 2021
The Routledge International Handbook of Practice-Based Research, 2021
engage.org
... Darren Chetty, then a Yr 4 teacher on the Teacher Forum, offered the following insight: '... more ... Darren Chetty, then a Yr 4 teacher on the Teacher Forum, offered the following insight: 'the arts, done well, go beyond just self-expression...there is the opportunity to develop self-discipline and a sense of place in the world...the arts enable 2 Page 3. ...
I regard the theatre as the greatest of all art forms, the most immediate way in which a human be... more I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. If we are to engage the next generation of students in science learning then the ways in which science concepts are introduced need to acknowledge the role of science in human affairs and be relevant to our lives as lived. It could be argued, then, that the use of theatre as a means of exploring the role of science in everyday lives can deepen insights into the human condition and create powerful new forms of arts and science learning. Such experiments require us to stretch the boundaries of conventional science teaching or theatre practice, taking activities beyond the physical spaces of school or classroom, theatre or studio, and opening up new spaces for learning. The two projects I shall explore in this chapter, Visiting Time and Boychild, were developed and performed in spaces and places not dedicated to perform...
Leonardo, 2021
As the profile of the arts-and-health sector grows and interdisciplinary projects with public out... more As the profile of the arts-and-health sector grows and interdisciplinary projects with public outcomes become more common, it is useful to explore roles and ways of working at the interface between different disciplines. The authors analyze the complex role of producer, likely to become increasingly relevant in this landscape. While incorporating aspects of existing roles (e.g. hospital arts manager, cultural venue participatory producer, independent creative producer, public engagement manager), the producer has a very specific raison d'être and could be defined as “relational producer.” This role is not well understood and yet central to this field of practice.
Research in Drama Education the Journal of Applied Theatre and Performance, Aug 1, 2013
This paper focuses on several images and metaphors from an artist residency at the Evelina Childr... more This paper focuses on several images and metaphors from an artist residency at the Evelina Children's Hospital and subsequent production at the Unicorn Theatre, For the Best. The intention is to consider how reflecting on an arts-based process with children on dialysis, and their school-mates can provide new ways of viewing performance outcomes. The narrative about a family's struggle to manage with a young boy's long-term chronic illness under the shadow of death is both strange and familiar. The paper, authored by the project's producer and a close collaborator on the project provides insight into Mark Storor's delicate processes as a means of understanding the ways participation, partnerships and learning through the project may be seen as examples of the ‘uncanny’.
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and
Landscapes: the Arts, Aesthetics and Education, 2006
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and through sharing creativity that understanding and social inclusiveness are promoted (Matassaro, 1997, p. 84). This chapter explores the roles of teachers and professional artists in participatory arts activities with schools and communities in London through the work of the London International Festival of Theatre (LIFT) 1 . Over two decades LIFT has been a powerful force for change in London and elsewhere pioneering an approach to producing and showcasing international experimental theatre. The biennial festival was launched in 1979 at a time when international theatre was programmed in London sporadically, and often without a sense of context or connection to the city. In the early 1990s LIFT began to rethink both how artists were commissioned and how London communities might engage with the festival, transforming itself radically in response to the changing context of the late 20 th century. In an increasingly interconnected world international festivals became the sites for debate about the role and purpose of the arts and LIFT sought to operate actively on the shifting boundary between the arts and education. From 1991‐2001 LIFT pioneered a distinct Learning Programme that has since built a resource in the city for wider participation for young and old in international performance-making with artists playing a crucial role in assisting communities to express their culture and values in meaningful ways 2 . This account will look briefly at the main principles of the LIFT Learning programme and in detail at three associated research programmes: the LIFT Teacher
Research in Drama Education: The Journal of Applied Theatre and Performance, 2013
This paper focuses on several images and metaphors from an artist residency at the Evelina Childr... more This paper focuses on several images and metaphors from an artist residency at the Evelina Children's Hospital and subsequent production at the Unicorn Theatre, For the Best. The intention is to consider how reflecting on an arts-based process with children on dialysis, and their school-mates can provide new ways of viewing performance outcomes. The narrative about a family's struggle to manage with a young boy's long-term chronic illness under the shadow of death is both strange and familiar. The paper, authored by the project's producer and a close collaborator on the project provides insight into Mark Storor's delicate processes as a means of understanding the ways participation, partnerships and learning through the project may be seen as examples of the ‘uncanny’.
Landscapes: the Arts, Aesthetics and Education, 2006
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and through sharing creativity that understanding and social inclusiveness are promoted (Matassaro, 1997, p. 84). This chapter explores the roles of teachers and professional artists in participatory arts activities with schools and communities in London through the work of the London International Festival of Theatre (LIFT) 1 . Over two decades LIFT has been a powerful force for change in London and elsewhere pioneering an approach to producing and showcasing international experimental theatre. The biennial festival was launched in 1979 at a time when international theatre was programmed in London sporadically, and often without a sense of context or connection to the city. In the early 1990s LIFT began to rethink both how artists were commissioned and how London communities might engage with the festival, transforming itself radically in response to the changing context of the late 20 th century. In an increasingly interconnected world international festivals became the sites for debate about the role and purpose of the arts and LIFT sought to operate actively on the shifting boundary between the arts and education. From 1991‐2001 LIFT pioneered a distinct Learning Programme that has since built a resource in the city for wider participation for young and old in international performance-making with artists playing a crucial role in assisting communities to express their culture and values in meaningful ways 2 . This account will look briefly at the main principles of the LIFT Learning programme and in detail at three associated research programmes: the LIFT Teacher
Leonardo, 2021
As the profile of the arts-and-health sector grows and interdisciplinary projects with public out... more As the profile of the arts-and-health sector grows and interdisciplinary projects with public outcomes become more common, it is important to explore roles and ways of working at the interface between different disciplines. The complex role of producer, likely to become increasingly relevant in this landscape, is here analysed. While incorporating aspects of existing roles (e.g. hospital arts manager, cultural venue participatory producer, independent creative producer, public engagement manager), the producer has a very specific raison d'être and could be defined as 'relational producer'. This role is not well understood and yet central to this field of practice.
Under the Microscopeis an arts research project conceived and led by artist Sofie Layton in partn... more Under the Microscopeis an arts research project conceived and led by artist Sofie Layton in partnership with GOSH Arts and the NIHR Biomedical Research Centre at
Kluwer Academic Publishers eBooks, Aug 11, 2006
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and through sharing creativity that understanding and social inclusiveness are promoted (Matassaro, 1997, p. 84). This chapter explores the roles of teachers and professional artists in participatory arts activities with schools and communities in London through the work of the London International Festival of Theatre (LIFT) 1 . Over two decades LIFT has been a powerful force for change in London and elsewhere pioneering an approach to producing and showcasing international experimental theatre. The biennial festival was launched in 1979 at a time when international theatre was programmed in London sporadically, and often without a sense of context or connection to the city. In the early 1990s LIFT began to rethink both how artists were commissioned and how London communities might engage with the festival, transforming itself radically in response to the changing context of the late 20 th century. In an increasingly interconnected world international festivals became the sites for debate about the role and purpose of the arts and LIFT sought to operate actively on the shifting boundary between the arts and education. From 1991‐2001 LIFT pioneered a distinct Learning Programme that has since built a resource in the city for wider participation for young and old in international performance-making with artists playing a crucial role in assisting communities to express their culture and values in meaningful ways 2 . This account will look briefly at the main principles of the LIFT Learning programme and in detail at three associated research programmes: the LIFT Teacher
CapeUK is an incubator for the development of ideas and practice in creativity and learning. A re... more CapeUK is an incubator for the development of ideas and practice in creativity and learning. A research and development agency, our focus is children and young people and those organisations and individuals who work with them. We are both a research and a practical organisation-our approaches are firmly rooted in experience. • We try out ideas • We make meaning • We support change processes • We influence policy and strategy
Routledge eBooks, Nov 29, 2021
The Routledge International Handbook of Practice-Based Research, 2021
engage.org
... Darren Chetty, then a Yr 4 teacher on the Teacher Forum, offered the following insight: '... more ... Darren Chetty, then a Yr 4 teacher on the Teacher Forum, offered the following insight: 'the arts, done well, go beyond just self-expression...there is the opportunity to develop self-discipline and a sense of place in the world...the arts enable 2 Page 3. ...
I regard the theatre as the greatest of all art forms, the most immediate way in which a human be... more I regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. If we are to engage the next generation of students in science learning then the ways in which science concepts are introduced need to acknowledge the role of science in human affairs and be relevant to our lives as lived. It could be argued, then, that the use of theatre as a means of exploring the role of science in everyday lives can deepen insights into the human condition and create powerful new forms of arts and science learning. Such experiments require us to stretch the boundaries of conventional science teaching or theatre practice, taking activities beyond the physical spaces of school or classroom, theatre or studio, and opening up new spaces for learning. The two projects I shall explore in this chapter, Visiting Time and Boychild, were developed and performed in spaces and places not dedicated to perform...
Leonardo, 2021
As the profile of the arts-and-health sector grows and interdisciplinary projects with public out... more As the profile of the arts-and-health sector grows and interdisciplinary projects with public outcomes become more common, it is useful to explore roles and ways of working at the interface between different disciplines. The authors analyze the complex role of producer, likely to become increasingly relevant in this landscape. While incorporating aspects of existing roles (e.g. hospital arts manager, cultural venue participatory producer, independent creative producer, public engagement manager), the producer has a very specific raison d'être and could be defined as “relational producer.” This role is not well understood and yet central to this field of practice.
Research in Drama Education the Journal of Applied Theatre and Performance, Aug 1, 2013
This paper focuses on several images and metaphors from an artist residency at the Evelina Childr... more This paper focuses on several images and metaphors from an artist residency at the Evelina Children's Hospital and subsequent production at the Unicorn Theatre, For the Best. The intention is to consider how reflecting on an arts-based process with children on dialysis, and their school-mates can provide new ways of viewing performance outcomes. The narrative about a family's struggle to manage with a young boy's long-term chronic illness under the shadow of death is both strange and familiar. The paper, authored by the project's producer and a close collaborator on the project provides insight into Mark Storor's delicate processes as a means of understanding the ways participation, partnerships and learning through the project may be seen as examples of the ‘uncanny’.
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and
Landscapes: the Arts, Aesthetics and Education, 2006
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and through sharing creativity that understanding and social inclusiveness are promoted (Matassaro, 1997, p. 84). This chapter explores the roles of teachers and professional artists in participatory arts activities with schools and communities in London through the work of the London International Festival of Theatre (LIFT) 1 . Over two decades LIFT has been a powerful force for change in London and elsewhere pioneering an approach to producing and showcasing international experimental theatre. The biennial festival was launched in 1979 at a time when international theatre was programmed in London sporadically, and often without a sense of context or connection to the city. In the early 1990s LIFT began to rethink both how artists were commissioned and how London communities might engage with the festival, transforming itself radically in response to the changing context of the late 20 th century. In an increasingly interconnected world international festivals became the sites for debate about the role and purpose of the arts and LIFT sought to operate actively on the shifting boundary between the arts and education. From 1991‐2001 LIFT pioneered a distinct Learning Programme that has since built a resource in the city for wider participation for young and old in international performance-making with artists playing a crucial role in assisting communities to express their culture and values in meaningful ways 2 . This account will look briefly at the main principles of the LIFT Learning programme and in detail at three associated research programmes: the LIFT Teacher
Research in Drama Education: The Journal of Applied Theatre and Performance, 2013
This paper focuses on several images and metaphors from an artist residency at the Evelina Childr... more This paper focuses on several images and metaphors from an artist residency at the Evelina Children's Hospital and subsequent production at the Unicorn Theatre, For the Best. The intention is to consider how reflecting on an arts-based process with children on dialysis, and their school-mates can provide new ways of viewing performance outcomes. The narrative about a family's struggle to manage with a young boy's long-term chronic illness under the shadow of death is both strange and familiar. The paper, authored by the project's producer and a close collaborator on the project provides insight into Mark Storor's delicate processes as a means of understanding the ways participation, partnerships and learning through the project may be seen as examples of the ‘uncanny’.
Landscapes: the Arts, Aesthetics and Education, 2006
The greatest social impacts of participation in the arts arise from their ability to help people ... more The greatest social impacts of participation in the arts arise from their ability to help people think critically about and question their experiences and those of others, not in a discussion group but with all the excitement, danger, magic, colour, symbolism, feeling, metaphor and creativity that the arts offer. It is in the act of creativity that empowerment lies, and through sharing creativity that understanding and social inclusiveness are promoted (Matassaro, 1997, p. 84). This chapter explores the roles of teachers and professional artists in participatory arts activities with schools and communities in London through the work of the London International Festival of Theatre (LIFT) 1 . Over two decades LIFT has been a powerful force for change in London and elsewhere pioneering an approach to producing and showcasing international experimental theatre. The biennial festival was launched in 1979 at a time when international theatre was programmed in London sporadically, and often without a sense of context or connection to the city. In the early 1990s LIFT began to rethink both how artists were commissioned and how London communities might engage with the festival, transforming itself radically in response to the changing context of the late 20 th century. In an increasingly interconnected world international festivals became the sites for debate about the role and purpose of the arts and LIFT sought to operate actively on the shifting boundary between the arts and education. From 1991‐2001 LIFT pioneered a distinct Learning Programme that has since built a resource in the city for wider participation for young and old in international performance-making with artists playing a crucial role in assisting communities to express their culture and values in meaningful ways 2 . This account will look briefly at the main principles of the LIFT Learning programme and in detail at three associated research programmes: the LIFT Teacher