Creating ‘Car Wash’

Kate Webster reflects on her Difference Engine Stories Commission

I saw Talking Birds’ call-out for ‘Difference Engine Stories‘ and was immediately excited – it’s SO rare to see a commission that’s explicitly an invitation to experiment!

As a writer and theatre-maker, I’m passionate about sharing live experiences and bringing theatre to non-theatre spaces, so using the Difference Engine to make a socially-distanced piece seemed like a great fit. It was also a chance to work with an access tool that was new to me, that could not only make the performance accessible for D/deaf audiences, but enable us to play with distance and potentially have audiences watching from inside their homes.

I connected with Coventry performer/director/local legend Paul O’Donnell, whose work aims to expose the ‘ordinary’ in a ‘spectacular’ fashion, which was perfect for this project exploring masculinity. Paul also had previous experience of working with the Difference Engine.

The inspiration for ‘Car Wash’ came from walking round my neighbourhood during lockdown and seeing the weekly ritual of men washing their cars on the street. A car can be much more than four wheels and a chassis, and some get not just a quick slosh with a bucket, but washing, vacuuming, waxing – a lavishing of time and attention that’s an expression of pride, even love.

‘Car Wash’ transforms Dave washing his car on the street into theatre, as the Difference Engine reveals the inner monologue behind his silent action, exploring masculinity and how that’s manifested/performed. As Dave’s confidence and apparent “normality” is undercut by reading his worries and doubts, the audience gets to know someone they might not have looked twice at, experiencing the gap between being seen and understood. At the climax of the piece (car perfectly polished and gleaming), Dave dances his heart out to Rose Royce’s ‘Car Wash’, acknowledging the audience and inviting them to join in: “Come on y’all and sing it with me!”.

The process of making the work was really fun and straightforward, partly because Talking Birds were so willing to let us create it in a very free way, scheduling regular check-ins to see how it was going and what we needed, but without putting any restrictions on how the piece should turn out. Essentially, Paul and I had a chat about how we saw ‘Car Wash’ working and some of the things we wanted to do, then based on that I went away and wrote a first draft. From there, we developed the script further through several more drafts, really focussing on the role of audio – Paul had the idea of using the car stereo not just for music, but as almost another character: ‘Radio Dave’.

The goal was to do several ‘test’ performances in different Coventry locations, trialling the idea and getting feedback from a range of audiences. So we chose a date (a Saturday, to maximise the potential audience) and promoted it through social media to people across Coventry, with a selection of time slots they could book by email. Talking Birds shared our posts and we had really good support from local people and organisations, through using specific hashtags like #LoveCov and the promotional Coventry Hour set up by Cov businesses. We set up a ‘What to expect’ document to send to all bookers, with practical details like letting audience members know they would need a smartphone or tablet to get the full effect of the show and asking them to download the Difference Engine in advance.

With the final version of the script in hand, Paul started rehearsing with our brilliant performer, Dan Walsh, and his car Clint. They worked on co-ordinating movement with the text (Dave’s inner monologue, shown on the Difference Engine, rather than than spoken) and recording the ‘Radio Dave’ audio track, including some pop classics that reflected Dave’s state of mind.

On show day, we had a timetable for each performance and its location, with three different Coventry streets expecting us (and saving us a parking space!). Because we were performing outside and moving around rather than being in a fixed venue, we used the mobile Raspberry Pi version of the Difference Engine, which fits into a rucksack. We’d originally planned to hire a tech operator, but realised that – because it was important to time the cues precisely with the music track and Dan’s moves – it needed someone who knew the piece very well. So with his past experience of the Difference Engine, our director also operated the “desk” for each performance, while I was on hand to liaise with the audience. That included trouble-shooting anyone having difficulty connecting to the app, encouraging people to share a phone or tablet if theirs wasn’t working (or lending them a device) and handing out leaflets explaining the show.

What was brilliant and we hadn’t anticipated was that the households who’d booked the show had then told their neighbours about it/put the details on a street WhatsApp group. So we often ended up with multiple households as an audience, with more neighbours coming out to watch when they saw people gathering. It added another layer that – because the show’s dialogue was almost entirely on the Difference Engine – people walking/biking down the street during the performance could tell something was happening, but weren’t sure what. Some people didn’t have their glasses or found the text moved too fast for them, so decided to watch without using the app. While that meant they weren’t reading Dave’s inner thoughts, they could see the performer and hear the audio track, so still saw the progression from a man straightforwardly washing his car in the street to an impromptu karaoke performance and ultimately, Dave letting his inner sparkle out.

So although some elements were unexpected, those were all positive developments that added layers to the performance or allowed for people to experience it in different ways. From what audience members told us on the day and from feedback through our survey, people who came out to watch then stayed to talk to each other after the show. On one street, the household who’d booked us had recently moved in and the performance introduced them to their neighbours. That’s exactly what we’d hoped for, that ‘Car Wash’ could bring theatre to communities and maybe start a conversation.

This commission was a great experience and I’ve become quite evangelical about the Difference Engine and sharing that with other theatre-makers. It’s an incredibly useful access tool, but can also be much more than that; I’d also really encourage makers to think about how they might integrate the Difference Engine into their work, not only use it to provide captions. I’m hopeful that ‘Car Wash’ has a future life with other communities and have had some really positive conversations about this model of theatre outside a theatre building.

These photographs were taken by much-missed local photographer John Whitmore.

Vimal’s Walks

Vimal reflects on his recent Remote Nest Residency, creating a walking tour documented via a diary.

BBC interviewing about the walk

Diary

This is my remit
Highlighting the culture and diversity of Coventry enabling people to see, taste, smell and hear stories of the people in the area via a walking tour.

Aim
To create a walking tour with real stories celebrating the culture and diversity of the area

Day 1
OMG where do I start what do I need to do???!!!!
Thoughts of places to explore:

  • I’ve always liked Fargo village and the diversity around there so maybe a good place to start?
  • Hindu Temples, gurdwaras, mosques
  • Information on the internet regarding diversity of Coventry
  • Yes some historical aspects but if people want to know about buildings, architecture this is not the tour for them!
  • Collecting stories from family and friends in the Coventry area

Day 2
Cinemas Ritz/Palladium – historically Indian cinemas – lots of information on forums.
Lots of history regarding Asian communities buying cinemas via self funding, hindi movies and Sundays became a day out to the cinema for the Asian community. Decades later there were disputes regarding ownership.
Possible to investigate further but currently too far from the Foleshill rd

Temples/gurdwaras near Foleshill Road:

First gurdwara built in Coventry is nearer the town centre – could be too far. Need something closer

Mosque being built on the Foleshill rd, the oldest one is on Eagle street built in 1962 Jaima Mosque

Thoughts
I need to physically explore Foleshill Road and the main road which serves Fargo Village and see which stores could possibly be up for interviews and use their locations to tell the stories

Day 3
Found a video on the internet about Foleshill which is a good reference point.
Foleshill the people’s hill

Thoughts
what do people want to know about Foleshill road or roads near Fargo village?
what would people like to experience?
visiting several places of worship – could it be boring?
Maybe I should just go into one place of worship and highlight the others?

It’s stories people enjoy
Need to celebrate diversity

Day 4
It’s raining – cancelled visit to Foleshill Rd
Thought – do I still want to do Foleshill Road or the road near Fargo village?

Day 5
It’s Foleshill Rd
General Wolfe has played a big role in Foleshill rd, Irish communities, Afro Caribbean
Music – Specials, Selecta

Interesting fact
First ‘coloured’ Licencee 1962 Mr Frances – The Wheatsheaf pub. A fact to share and terminology used at that time.

Day 6
Research internet – Coventry facts – historical forums
Lady Godiva – reenacted down Foleshill rd
Watch manufacturers
Blue Ribbon
Cashs lane – the building and significance – known as Topshops

I don’t want to go into too much historical facts

Day 7
Went to Foleshill Road to interview a few retailers
Interview with Tahims – Clothing retailor
Interview with Shan Paan – Indian fancy goods
Interview with Standard Indian sweets
Interview with Iranian fish Mongers

Retail store Shaan Paan

Day 8
Spoke to Mehru Fitter who worked at Coventry library – for some possible leads

Day 9
Spoke to Anita P whose grandfather arrived from India and settled in Coventry in the 1950s
He was a cotton farmer in India with a thriving business but had to leave everything after the partition – he ended up working in Courtaulds in Coventry. Story collated.

Thought
Joshi’s Story needs to be told outside Courtaulds

Day 10
I do the walk on the Foleshill Road and find
there is a big gap from Courtaulds to Shaan Paan.

Thoughts
Need to find out what most of the businesses were before they became hairdressers
Currently 8 hairdressers all next to one another
Maybe interview a hairdresser?

Day 11
I listen to the recorded interviews and turn them into script

Day 12
I Go through the Coventry history archives and find some interesting facts
Prince Charles visited Foleshill Road and also opened the Bangladeshi community centre on George Eliot Rd.
Clint Eastwood had a role in the film Lady Godiva
Phillip Larkin was born in Coventry

Thought
Little snippets of info that can be shared during walk without going into too much information

Day 13
Visit Talking Birds Nest (Phillippa, Dez, Janet) and share ideas/stories about the walk.
They give their views as to what stories they’ve enjoyed

I go onto Foleshill Road and note through chatting with owners of businesses in the hairdressing area that most of the retail stores are operated by Kurds

Thought
This is Little Kurdistan
I will refer this area as Little Kurdistan during the walk and talk about how vital the Kurd community has been in the development of this area of the Foleshill Rd

I Interview Lookman who owns a hairdresser – he was sent to Coventry!

Day 14
I transcribe Lookman’s interview

At Lookman’s Hairdressers

Day 15
I do research on temples, some are too far away from Foleshill Road, however I find there is one on George Eliot Road. A Hindu temple that serves mainly the Tamil community, with people originating from South India, Sri Lanka and Malaysia. I speak to the president about the idea of a walking tour, and he would be delighted if we brought people from other communities to pay the temple a visit.
President of temple explains any rules that need to be observed. Photography and filming is fine.

Thought
The temple has a wow factor
I have knowledge of Hinduism so can share stories about gods and goddesses
Significance of Ganesh
This will be the starting point of the tour

Shri Sidhi Vinayagar Temple

I visit the Gurdwara on Foleshill Road, speak to one of the trustees who gives us permission to bring guests into Gurdwara as long as people respect the rules
No cigarettes, no alcohol at any time. Filming and photography is fine
Thoughts
Share tenets of Sikhism
5 ks

Nanaksar Gurdwara Gursikh Temple

Day 16
Speak to Haroon from Active Inclusion regarding floating library on canal

Thoughts
To include walk along canal side and share anecdote of Cash’s weavers

NP Aerospace is also on Foleshill Road
Bespoke bomb disposal suits made – predominately by Asian community

Next to NP is a Gurdwara – different section of Sikh community – previously George Wilson gas meters

Interesting fact
4 air raid shelters on the Challenge cycles building on Foleshill Road

I visit Gem jewellers who have a wow factor with the Indian jewellery they sell. I explain walking tour and they will allow a visit.

Thoughts
Stories regarding importance of gold in Asian community – dowry
Mangle sutra – Given to wife by husband and significance of black beads in the gold chain

A short interview with Shanaz who has a material and clothing shop. Selling lengha, Salwar Kameez, dothis etc

Cash’s Weavers along canal side

Day 17
The walking tour is taking shape.

I decide on a route
Hindu Temple
George Eliot rd,
Gurdwara
Canal side
Joshi’s story outside Courthaulds
Walk to Little Kurdistan
Lookmans story hairdressers – settlement
Fishmongers – Aras story – Masgouf cooking
NP Aeronautical – hand made bomb disposal
Gem jewellers
Shaan Paan – leaving Uganda
Standard sweet centre – food stories with potato chapatti and mango lassi

Day 18
I take Dez to test walk

A success!!!!!!
Market walk on social media

Day 19
I write a blurb and decide on a name for the Foleshill walking tour

Vimal’s Walks: Join Vimal for a multi-sensory walk celebrating the diverse and vibrant heritage of the Foleshill Road. Visiting temples and hearing the sacred stories of gods and goddesses, with a stroll along the canal side, a stop at an Indian fabric shop, a Kurdistani hairdresser, an Iraqi Fishmonger, A Ugandan fancy goods shop with anecdotes of settlement, food and success, finishing with a glass of cold mango lassi and a hot aloo porata. All experienced in a fun and relaxed way.

More bookings via Waterways weekend for the walking tour, interest from BBC Sounds

The walking tour over the two days is SOLD OUT!!

Big thanks to Talking Birds, Derek Nisbet, Janet Vaughan, Philippa Cross, Dom Watson, Frances Yeung

Developed during a Nest Residency with Talking Birds. Performances supported by Coventry 2021 Green Futures programme.  

RAPIDE SLIDEOUT

Paul Daly and Adele M Reed reflect on their recent Nest Residency.

For me, the sense of liberty that TB’s residency offers is the foundation to why it deserves most of its plaudits. It’s been so refreshing to focus on practice without expectations and time pressure, I gained so much from exploring without any sense of anxiety or stress. 

Sharing the space with Adele elevated the experience tenfold, allowing for a constant dialogue and reflection on both our practices. We staggered our days at the space, on reflection this actually benefitted us with further mental prep and insight before fully sharing our thoughts and aspirations to one another. Adele brought a playful impulsive energy to proceedings, something I have lost to a degree with my own work, this is likely one of the main things I wish to reintroduce to my practice in some form. Just revelling in a fully rewarding experience with our Adele, especially considering how each of our compulsions and obsessions are delicately interwoven into our work. So pleased we had this opportunity to dive in together. 

Other main takeaways are a refreshed confidence with my main creative focuses, a plan of action following the completion of a 7 year project, more undying love for analogue, and some of that bountiful optimism which is to be cultivated and injected into the next career phase. 

To top it all off, we were seen off with an in-kind chippy tea. This should speak volumes of the generosity and earthly nature of the Talking Birds team, a constant calm presence that made the experience that much more enjoyable. This is a golden opportunity for local artists.

By Paul Daly

Dear readers, apply for a Talking Birds residency! Rare is this kind of supported opportunity, a deep level of trust is gifted to you with respect for the artist, at its core. This treasured period of time affirmed many things – the cruciality of open space and time, the importance of dialogue with like minded souls, the joy of art in its myriad forms, the necessity to rest between heartening, powerful moments of revelation. 

I went into the residency with Paul with one particular commitment in mind – to chronicle our eclectic shared interests and fast-moving insightful conversations. We play off each other in a very organic, uncontrived and playful way, and therefore decided to name our documentary blog ‘Rapide 40 Slideout’ – the title of a drain we walked over on the way to Daimler Powerhouse on our first day. Rapide 40 Slideout evolved into a collaborative, thriving breathing beast (in other words it became an obsessive tendency for me) of 122 posts in 10 days. Please explore it, if you’d like to delve inside the flying sparks of our minds, via emailing us to request link – adelemreed@yahoo.co.uk or pdalyphoto@gmail.com 

Polaroid making and manipulating became a notable focus, each day of the residency creating one new image each to either tamper with or keep as is. Audio play featured heavily also and Derek lent us Janet’s father’s condenser pencil microphone which taught me that my cheap cassette player is capable of far more satisfying analogue recording than I knew possible. I read gothic art literature and local historical crime and watched a plethora of international films on Mubi. And we spoke about the key themes within our work. I found these sessions particularly fascinating, unearthing parts of our motives that perhaps go far too often unexplored, unprobed. Many motives lie in politics, religion, upbringing, and so forth. The question was: why do we do this? What are the roots of our respective compulsions? 

I was surprised by the residency, for just how much it supported me, and as I first proclaimed: will be shouting about it and Talking Birds ongoing! 

By Adele M Reed

time immersed

Wes Finch reflects on his recent Nest Residency

I am taking two weeks, one either side of chocolate-gorging at Easter, to spend time immersed in fairy stories, folk tales, legends, and fables and work out how I might write something in response, along those lines that reach so far back into our collective past and persists into our messy and fragmented present. Maybe I can even jump into the future and look back at where we are now? Maybe that’s a little ambitious for a two-week period but it’s good to aim high, even if I just read some great stories and get a few ideas.

There are certain characters, ideas, formulas, and progressions of events that repeat themselves, in different contexts and wearing different clothes, in the stories that we share and enjoy that have been present from the beginning of storytelling and are still with us today. There are a whole set of ideas, circumstances and narratives that come to mind when someone says the name ‘Cinderella’, ‘Snow White’ or the phrases Let There Be Light! or The Chosen One. Stories are how we make sense of the world and inform how we navigate and interact with it. I’ve found thinkers and writers like Johnathan Pageua and Jordan Peterson fascinating in their unpacking of biblical stories in that regard – well what portion of it I can keep up with, anyway!

It’s a real privilege to have a room, a quiet space with wi-fi and books, with none of the distractions and obligations that come with trying to do this at home. I love being at home (which is a good thing, considering that last two years) but there are other people and animals that come in and out of rooms, people that knock the front door, guitars to be picked up, paint and pens, records, incomplete DIY jobs, things to tidy, laundry and washing up to distract and interrupt me. Here I have the luxury of time to dedicate thought and energy to something I hope I can form into a bigger project in the future.

At the moment I’m still trying to absorb stories and ideas, but I’ve written a little piece about a dragon that attacks Coventry and something about a metal detectorist finding a Golden Key…

The Nest is a fantastic place to be, amongst other creative people working in all kinds of disciplines. I’ve already bumped into a photographer and a dancer I know, passing between my room and the communal area downstairs. Now, I just need to find someone who might want to do some illustrations….

It’s now the end of the second week in my little office. I’ve met some more interesting folks working here and shared some of my writing with some, and as my time here comes to an end, I know I’m going to miss what such an environment has given me.

I’ve read more but nowhere near everything I’d want to (so many books, so little time!) and I’ve written a few more pieces. I worried I might not be able to get back into the rhythm of it after a break, but ideas have obviously been percolating and then insisting on being put on the page just as I’m trying to read another story.

The stories of Kurt Schwitter are bizarre, funny and brilliant, Katherine M Briggs’ British Folk Tales and Legends – A Sampler has been really useful, as have Lisa Schneidau’s Botanical Folk Tales along with Chainey & Winsham’s Treasury of Folklore.

It doesn’t help that Talking Birds’ small library downstairs is full of incredibly interesting and distracting titles too (I borrowed Octavia Butler’s Bloodchild and Other Stories over Easter and didn’t regret it, although I’m not sure it tied into my practice here other than highlighting some useful stuff about the practice of writing with a short contextual essay after each piece.)

There’s been some positive responses to whatever I’ve shared which has been encouraging. I wrote a retelling of an old French tale where a young lord marries a water sprite and I’ve started a retelling of the early life of Lady Godiva, when she was just called Evie.

I’ve struggled to get a foothold on something truly from the future perspective. After finding a map of the predicted flooding and redrawn coastline of the UK in 100 years’ time I really wanted to respond to that, setting a story on the Isle of Rasen where the market town of Middle Rasen now lies in Lincolnshire but that’ll have to wait to solidify a bit more.

I’ve been drawn to Fairies, or as I now know to call them The Gentry or The Good People and have a couple of pieces concerning encountering them in a more modern context.

As an over-arching theme I’ve been mulling over the idea of the ‘other’ or the ‘magical’ that features in so many stories and drawn to considering it all in a revised way; I think there is a lot to be gained from understanding and appreciating the symbolic reality of things and what they represent and manifest for us in the stories we tell and enjoy. We live in an age so dominated by scientific practice that to even deal with things like spirits and spells is at once dismissed as childish. Fantasy as a genre isn’t considered as worthy or important as say historical fiction because it involves things that have no basis in physical, manifest reality. If something can’t be observed, recorded, and quantified does it even exist?! Well, what does that say about your very own consciousness, eh…?

I think it’s probably important to remember the following, and it’s something that has been known eons before and is being slowly remembered and reconfirmed in physics labs today; what you observe to be real is very dependent on what and who is observing. Therefore, what is true might well depend a lot on you. So, just bear that in mind next time you turn the corner into your street and come face to face with a fox in the moonlight.

Plastic is my home

Alan Van Wijgerden reflects on his Covid-interrupted Nest Residency

Plagues of locusts, biblical floods, it all seems to have happened to my Nest Residency!

It started over a year ago now when Covid was a rumour and happening mostly in China. Things went well for me and my able assistant: set, costume and camera person Jazz. But Covid spread and, with two days to go to finish the production phase of the project, it had to be halted due to the first Covid lockdown. And so the little room in Eaton House became a distant memory.


Over a year later, with Talking Birds’ move to Radford – and Covid (which as everyone knows was only going to last a few months) finally receding – we restarted. I re-learned a forgotten script, It’s relevance around dementia brought into much sharper focus by family events. Personally I’m scared stiff of dementia and my sister says she doesn’t want to get old. Dementia is slow, insidious and cruel.


But Plastic Is My Home also re-visits some of the issues of a now archive film of mine called The All Electric Home which, if I may say, predicted the impact of the likes of Facebook. And Facebook feels like it’s been with us forever now. But in reality it’s so recent.


Talking Birds were grand throughout, providing us with facilities. And special thanks must go to Janet, who held the faith through troubled times and enabled a production I wouldn’t ordinarily have had the resources to do. Jazz was a real trooper too. These residencies are well worth applying for. With a little bit of dosh which is always useful.


Our set came courtesy of that cornucopia of all things cheap and cheerful CROW. (Community Recycling Of Waste) Perhaps for me the hardest part, paradoxically, was memorizing my own script. Such lines as “AMERICA IS ON LINE!!!” and a short ode to the old red phone box.


There look to be opportunities with City Of Culture to show the piece now, which didn’t exist pre-pandemic. Just waiting to do the edit now…

Alan in his costume during a break in filming

Open Call! Artists opportunity!

Future Ecologies – Talking Birds/Ludic Rooms Collaborative Nest Residencies

Ludic Rooms has teamed up with Talking Birds to create two Nest Residency opportunities for artists who live in the CV1-6 postcode to take time to explore ‘Future Ecologies’ around Coventry Canal. Nest Residencies have been running since 2019 and prioritise D/deaf, disabled, neurodivergent and/or locally-based artists, supporting them to experiment with one of those ‘What if…?’ ideas.

This call out is intended to identify artists living within the CV1-6 postcode who are interested in:

– exploring the themes of Future Ecologies along the Coventry Canal; 

– engaging with digital technologies (whether or not this is already part of their practice);

– collaborating with Ludic Rooms and Talking Birds;

– exploring sustainable or regenerative working practices; 

and who would benefit from a supported studio residency within the creative community at The Nest.

The Nest Future Ecologies residencies are supported by by Arts Council England Project Grants, Coventry City Council Project Grants and the City of Culture Green Futures Programme.

Ludic Rooms is based at Coventry Canal Basin and is currently focussing on life by water (in the most landlocked city in the country) and ideas for folk traditions of the future. These are being developed through its major arts and technology programme called Random String, as well as an associated project, Landlocked, where Juneau Projects are working with local residents that overlook the water to imagine future wildlife in the canal. 

The Nest is a brand new shared making space created by Talking Birds as a place to grow an inclusive, climate-conscious creative community which supports and enables disabled and local artists, giving them space to explore ideas and create new work. The Nest is on the Coventry Canal, adjacent to the Daimler Powerhouse, and is a 5 minute walk up the towpath from Ludic Rooms.

These Ludic Rooms/Talking Birds Nest Residency opportunities aim to play with the ideas and connections of the waterway and an artistic support structure – through the idea of ‘Future Ecologies’. The residencies are available across disciplines but should in some way engage with digital technologies. Ludic Rooms can support this, if you have ideas but limited know how. 

The successful artist will be provided with an accessible work space at The Nest where they will benefit from mentoring, constructive critical input and production support from the two partner organisations. The successful artist will also receive:

  • Residency fees: £800 or £1600 (plus additional access support to make the residency work for you)
  • Modest but flexible materials/making budget to include support as needed with digital technologies or other construction.

Schedule

For these Future Ecologies Nest Residencies, the deadline for applications is 22nd July 2021. We would ideally like the first residency to start as soon as possible. Nest Residencies aim to be responsive to the needs of the artist and the idea they are exploring, so the exact timing of the residency will be arranged with, and to suit, the artist.

There are two opportunities:

  • A short intensive residency ending 27th August with work to be presented during the Bank Holiday weekend events that are being held at both locations and along the canal.
  • A longer or more spread out residency, with a studio available between 1st September and 15th October. If the appointed artist wanted to take advantage of the engagement opportunities outlined below, the start date could be earlier.

It would be useful if you could indicate in your application if you have a preference on timescale.  

Sharing the Work and/or community engagement opportunities

There are a number of potential sharing, testing and presenting opportunities between July and November (see below) which is why we have structured the opportunities in this way. 

Nest artists can potentially present works in progress or engage with the public in developing their work during Friday sessions at Ludic Rooms’ Roam + Dwell public events (every Friday through July and August); August Bank Holiday weekend (27-29 August); and finally at Random String Festival 11-14 November. 

Who can apply for the Nest Future Ecologies residency programme?

Any Coventry-based artist or small company with a CV1-6 postcode, with priority given to d/Deaf or disabled or neurodivergent artists. 

How to apply

Either complete the online application form here

Or you can submit your application in video or audio format to cover the questions below

  • What idea would you like to develop during this residency?
  • What if any experience do you have and what input you might need?
  • Why are you interested in working with the partner organisations?
  • Why is this opportunity beneficial to you at this moment?
  • Please specify any support you would need in order to make this opportunity work for you.

You can include links to your website, Youtube, Vimeo or Instagram accounts

You can upload up to three images of your work with the form if you have a google account, or email them to anne@ludicrooms.com 

An easy read version of this information is available here

We’re looking for someone…is it you?

Are you a brilliant person who can make creative things happen, while supporting artists to experiment with, and develop, their ideas?

Are you interested in work with artists and communities that is at once local and place-based, but also deals with much bigger, universal issues?

Do you agree that artists have a social and civic responsibility to the places and communities where they live and make work?

Are you interested in how artists respond to the problems facing humanity: in exploring what an arts organisation’s role might be in fighting against climate change – and for social justice?

Has the pandemic made you think hard about what happens next and how artists might lead on imagining & building a better future?

We are looking for someone to join our small and friendly staff team as we grow a creative community at The Nest, our new HQ in Coventry. We have imagined this role as Nest Community Connector, but we want to work with the right person, and this means that the role, title and terms of employment are open for discussion. To begin with, we are looking for someone to join us 3 days a week for nine months – but we’re growing and changing at the moment and we hope to be able to make this a much longer term thing.

You can view or download the recruitment pack below (PDF format). A text only version is pasted in lower down this page, or if you’d prefer the information in another format, please let us know.

NEST COMMUNITY CONNECTOR Recruitment Pack (Text)

Who are we looking for?

First and foremost we are looking for someone who is excited by this brief, by the possibilities it holds and who would like to get stuck in – who is excited by the fact that everything is fluid and not yet pinned down. Someone who can’t wait to come and join us in Coventry, can see the huge possibilities of The Nest and wants to be a key part in making it a success for our city.

We’ve made a list of the qualities we are looking for, but we know that the right person may not have every single one of these – and will likely have more useful qualities that we haven’t even listed – but if you read this and think it sounds like you, then please consider applying.

We are looking for someone who:

  • likes people and is a generous collaborator, a good listener, is quick thinking and good at working with others to make interesting things happen.
  • is able to recognise the best idea in the room and work with that, even (and maybe especially) when it isn’t their idea.
  • is really curious about how and why, and is interested in change.
  • can think practically and strategically, loves to solve problems and wants to help make the world a better place.
    can hold a conversation with anyone, and make them feel confident they are being listened to, that their words matter.
  • knows how to gently question or challenge an idea or viewpoint from a position of care, and can inspire others to work with them to achieve something really special.
  • can bring something, in their skillset and lived experience, to the team that we don’t already have.
  • knows that sometimes something needs doing in a particular way whilst at others it is appropriate to challenge how things are done; and can just get stuck in and finish the job when that’s what is needed.

The kind of person:

  • whose values are important to them, and which chime with our own (Kindness, Brilliance, Transformation, Curiosity, Wellbeing, Collaboration) and with our ‘six big ideas’ (about artist process & support; access & participation; climate conscience; agency, equity & diversity; nurture & resilience) – which weave through our work, guiding our choices and interactions.
  • who is interested in people power, cultural democracy, collective decision making and the positive transformation that groups of people working together can effect, especially through the arts and culture.
  • who believes that artists have a responsibility to their communities and their cities, and that small and agile, but connected, organisations working strategically can affect big and meaningful change.

We think that the person we are looking for might previously have worked (maybe in the arts, events, charity or community sectors) in a job called something like ‘Producer’ or ‘Creative Agent’ or ‘Changemaker’ or ‘Project Coordinator’ or ‘Project Manager’ or ‘Community Activator’ or ‘Community Engagement Instigator’ (or maybe something else!). In the kind of job that is as much about envisioning the future as seeing something through – we are looking for someone who is as good on fine detail as on the big picture, and is comfortable with – and excited by – change.

Other skills that might be useful include:

  • is comfortable managing/tracking project budgets.
  • is able to reflect on how a project has gone, gather everyone’s viewpoints and fold that learning into working out what happens next.

What will we be working on?

This is a big and busy nine months for Talking Birds, and for Coventry as it becomes UK City of Culture. As we’ve mentioned, our biggest project is The Nest, a brand new home for the company – somewhere to build our climate-conscious creative community and make a hub for the wider independent artists’ community in Coventry. Within The Nest there will be co-working and meeting spaces in addition to studio spaces for artists undertaking Nest Residencies, which prioritise d/Deaf, disabled and locally-based artists, providing space and support to experiment with those ‘what if…?’ ideas.

We know there will be lots to do in inhabiting our building for the first time and in creating the right spaces and atmosphere – and much of that is about the care and attention of our team. Alongside this, we will be opening up the Nest Residency Programme again and working towards the delivery, in November, of our major creative project for City of Culture.

Specific jobs might include:

  • Artist development and support at The Nest: you might lead on the co-ordination of co-working sessions, and the team’s support for artists undertaking Nest Residencies.
  • Festival of Transition: you might be the main point of contact in the team for artists and the co-ordinator of a series of talks/events.
  • Art for the People: you might be a key creative collaborator in the shaping and coordination of this major arts and social democracy project.
  • Inclusion and Relevance: you might take the lead on connecting and extending our key strands of work around access and diversity.
  • Nestival: you might be a key creative collaborator involved in developing and producing projects in preparation for a year-long programme of creative work marking Talking Birds’ 30th anniversary in 2022.
  • Shape and influence the company’s projects, systems and future direction as a new team member with a fresh perspective.

Our working hours are pretty variable and flexible. They are often shaped around the needs of a project, but also around the other responsibilities that our team have elsewhere, like caring responsibilities or other part time work – we plan as a team to find a balance that works. We will be happy to explore different working patterns that work for the company and our new team member.

This is a part-time role and the salary will be pro rata of £26,000 per year (£15,600 per year for a 0.6 FTE role) – which for the 9 month period of this contract is £11,700. For more details, see ‘Terms and Conditions’ below.

How to apply:

If you think you might be the person we are looking for, then please send an email (up to 500 words) or a video (up to 3 minutes long) along with a CV or list of recent work to talkingbirdscoventry@gmail.com

In your email or video, please let us know:

  • What is exciting for you about this proposition?
  • And why do you think this is the role for you?
  • What will you particularly bring to Talking Birds (and Coventry)?

Closing date for applications: Friday 4th June

Interviews: Thursday 10th June on Zoom. Although many Covid restrictions will have relaxed by this point, we have taken the decision not to schedule in-person interviews at this time. Other arrangements can be made if this is not a suitable medium for you. If you’d be unable to attend during the week but would need an evening or weekend interview, please mention this in your application. We will share the questions with all interviewees before the interview date.

The interview panel will be Janet Vaughan (Co-Artistic Director), Sujana Uphadyay-Crawford and Jess Pinson (Board Members).

Questions about this role
We’ve tried to take care with the language in this job call out, and to write it in an open, accessible and equitable way – but if anything isn’t clear, or you’d like to chat with someone before applying, we’re really happy to talk to you. Please email talkingbirdscoventry@gmail.com and leave your name, details with the best way/time to contact you – and one of us will be in touch.

Positive Action Statement
Like many artist-led organisations, we are working to better represent the UK’s wide wealth of lived experience. Whilst we feel we have made progress with the diversity of the artists we work with and with the make up of our Board, our core staff team is less ethnically diverse than it might be. Therefore we are particularly keen to attract applicants who identify as something other than white British.

Travel
We advocate for greener/active travel wherever possible, and this role will be based at The Nest in Coventry, which is a 20 minute walk from Coventry city centre – or a 10 minute cycle (a docking station for the West Midlands Cycle Hire (Beryl app) network is 100m away on Sandy Lane). We have pedestrian access from the canal towpath or from Sandy Lane, which is also well connected to the local bus network. There is ample bike parking on site and two car parking spaces, which are reserved for those for whom travelling without their car would be a barrier to accessing the building.

Terms and conditions
This is initially a temporary contract for nine months. We hope – subject to successful fundraising – to extend this.

The role is part time – pro rata 0.6 of a full time equivalent (FTE) working week of 37.5 hours (i.e. 3 days / 22.5 hours a week). We are open to flexible working patterns (by agreement) and committed to family-friendly working. Some non-usual hours may be required depending on projects, possibly including at weekends or evenings,
by prior arrangement.

Salary will be pro rata of £26,000 per year (£15,600 per year for a 0.6 FTE role) – which for the 9 month period of this contract is £11,700. There will be 11.25 days of paid holiday per year over the 9 month period of this contract (pro rata of 25 day FTE per year). In addition, there is entitlement to the usual public holidays in England and Wales on a pro rata basis, normally to be taken in the week of each bank holiday.

Reasonable time off in lieu (at a time agreed with the Artistic Directors or General Manager), will be granted for excess hours worked. Occasionally, by agreement, additional pay may be offered instead of time off in lieu.

Talking Birds has a company pension which the postholder will be eligible to join. Employer contributions will be 3% and employee contributions 5%. Employees may opt out of this if they wish.

There will be a probationary period of 2 months.

There may be some flexibility around the number of hours and/or salary for the right candidate.

More info
You can find out more about us at www.talkingbirds.co.uk – we are in the middle of making a new website to launch with the opening of The Nest, but hopefully the current one will give you enough of an idea about us and our work. If you have any problems with getting in touch via our email address, please use the contact form on the website.

We have proof-read this pack about 5000 times, but please forgive us if you spot any errors… 😉

The Nest (left) and the Daimler Powerhouse beyond.

*This page was edited on Fri 14th May to change the email address for questions and applications because the previous email address was not working consistently.

Eugene & the Difference Engine

Daniel Nicholas blogs on making a show with the Difference Engine

I’m not sure what year it was, maybe 2015 or 2016, could even be earlier than that. I was living in Leicester, working part time at Tesco’s, when I went to a talk about this new software made by Talking Birds Theatre Company, that can give captioning in real time to theatre performances, straight to audience members’ phones; the Difference Engine.


Flash forward five or so years later, and I’m gearing up for my first tour (pandemic pending) of my first theatre show ‘Eugene’ which has the Difference Engine at the heart of it.


When I first found out about the Difference Engine, it was the idea of sending messages to audiences’ phones that grabbed me most: could these messages be secrets that the characters on stage don’t know about? Whilst at the same time captioning what the actors on stage are saying.


The creative possibilities were racing through my head. But the big one was the multiple channels, having different audiences receiving different things that could influence how different audience members see the show – and therefore with everything that happens on the stage being the same, individuals will be seeing the show through a different lens, without realising it. This goes hand in hand with making a piece of theatre for the d/Deaf community.


That has been the goal of my show Eugene, to give audiences different ways of seeing the same thing on stage at the same time. Eugene is about a millionaire Steve Jobs-esque figure launching the first super human A.I. It all takes place at a press conference/ product launch. And although Eugene the A.I. appears on a screen at the back of the stage, it also talks to audiences directly throughout. What messages they receive, however, depends on what option they selected on the Difference Engine at the start. The character on stage and the A.I. interact: it’s very much a 2 person show, but with one actor.
It’s been difficult, don’t get me wrong, coming up with a script that works on multiple levels, and then inputting that into the Difference Engine. But I think the results (will be) worth it, when for the first time I have a show that’s accessible to d/Deaf audiences, where different audiences have a different experience at the same time: I’m happy to do the hard work, no question.


I think there’s a danger, sometimes, of tacking on accessibility to shows or products, it being thought of as an afterthought, or squeezed in when all the work is done – sometimes it just isn’t. But if I’ve learnt anything from this process, it is that by harnessing the resources that are there for accessibility, like the Difference Engine, something new and innovative can be created that can be enjoyed by many more people. And why wouldn’t you want to do that?

https://ingeniousfools.co.uk/project/daniel-nicholas/
Eugene was the Edinburgh Fringe National Partnerships Award Winner for Yorkshire 2020/21 

It’s not Wednesday and it’s a bit late for a round up of books of 2020…

But nevertheless, if you’d like a recommendation of something to read, here’s some of Co-AD Janet’s favourite reads of the last year* (with apologies that there isn’t much fiction!):

*Read in 2020, as opposed to published in 2020.

Human kind by Rutger Bregman

Radical Help by Hilary Cottam

Natives by Akala

How to be a Liberal by Ian Dunt

From What is to what if by Rob Hopkins

Whipping Girl by Julia Serano

Piranesi by Susanna Clarke

Difference Engine Stories – Open Call

We are looking to commission two brand new short art experiences that use our captioning tool, the Difference Engine, to deliver a story to individual audience members in an unexpected, beautiful (and Covid-safe) way.

What is the Difference Engine?

The Difference Engine is Talking Birds’ discrete tool, developed to make performances and events accessible to D/deaf, hard-of-hearing, blind or partially-sighted audience members by delivering captioning and audio description direct to their own mobile devices. 

It has been developed by artists, for artists – we made the Difference Engine because we wanted to give more people the chance to access experimental, outdoor, small scale or immersive performance. But essentially one of the things the Difference Engine does is to allow artists to send text to audience members’ mobiles in real time (for more info see the Difference Engine website). This is why we have come up with this opportunity.

The Difference Engine has successfully allowed companies of various scales, from intimate one-person shows through to larger scale outdoor art, to bring captioning into their audiences’ hands. Difference Engine Stories is an opportunity for artists to experiment with the tech and find a new way to build an experience around the delivery of a story to an audience and their mobile at a (social) distance.

What are we looking for?

We know that artists are inventive and this is our invitation to you – to think of a way you might play with the captioning possibilities of the Difference Engine to create something small, beautiful, and a bit different. 

Because the Difference Engine is good with text, we think you might want to use it to tell a story. 

Because the Difference Engine works at a (short) distance, we think you can make something socially distanced for a small number of people – maybe with your artists outside and your audience inside, receiving the text to their mobile devices. 

Because the Difference Engine was created in order to caption live performance, we think you might want to play with the relationship between the text you are sending and some visuals, perhaps performed on the other side of a window to your audience. 

Maybe you will pair the text you’re sending to your audience in their front room with live (silent) action you perform outside their house; or live caption narrate a story that transforms what is actually happening outside the window; or send a story in small chunks of text without visuals; or provide alternative captions to something they watch on their TV…

But because we are also artists, we don’t really want to tell you what we are looking for, we want you to come up with something interesting.

Who is the audience?

This is really down to you, but we expect there will be the possibility to experiment with the relationship between the artist (as the giver of the story) and the audience (as the socially-distanced recipient/s). We’d like the Difference Engine stories to be made for, and shared with, people in Coventry early next year – at the point where the city wakes from winter and looks towards a year as City of Culture (but we’re not asking for the stories to be about these things). 

Within this project, we are only looking for proof of concept delivery – and so, if you are commissioned, we will expect you to decide (with us) how many ‘performances’ you will do, identify and brief your preview audiences, test your piece and collect some documentation and feedback. Although audiences can access the Difference Engine via their smartphone browser, it works better with the Difference Engine app and so, if commissioned, you will have to consider how best to identify and brief your audience (we can support you with this). 

We expect that people with hearing-related access requirements might naturally form part of the target audience, but anyone should be able to enjoy it and, crucially, have a similar experience. 

Who can apply?

As we may have mentioned (!), we’re based in Coventry – so we would love to hear from artists local to our area, but we’re also open to hearing from people further afield – if they can safely travel to Coventry to present their piece, working within current Government guidance. Although the Difference Engine is usually a performance tool, these commissions are open to individual artists or artists groups in any discipline who can work within this brief to make a piece for the Difference Engine.

What’s the idea?

We want you to use the Difference Engine to place a story into an audience’s hands in a completely new way. Remember, the Difference Engine can be used anywhere, by anyone who has a mobile device (smartphone or tablet) in their hand – but we are interested in the intimate relationship between the artists, the tech and the audience. This is not something that could be broadcast via the internet and experienced by anyone anywhere all at once, it is about choosing your “stage” – whether that is the pavement outside a single house, a street, a school, a towpath, a public square (although if it is a public space where permission is needed, you will need to be confident you can gain that permission, if commissioned, and of course ensure all regulations relating to Covid are followed) – and the physical space between you and your audience as you tell your story. 

What we’re offering?

We are offering 2 commissions, of £2,000 each, to an individual, collective or company, to create and deliver their piece. 

At this stage, we are only looking for proof of concept delivery – i.e. the piece is made and previewed with some test audiences whose feedback is captured. 

We don’t want the application process to be onerous, so please just send us up to 500 words about your idea, about you and your work and about what in particular interests you in the combination of the Difference Engine, Covid-safe art experiences, and sending a gift of words over a short distance. 

Send your application to: TalkingBirdsCoventry@gmail.com by close of play on Sunday 10th January

If you have any questions or you think that you might have a great idea, but would like to speak to someone about it first, we can be available for a short chat between 10th and 17th December. Drop us an email via the website including your phone number and we’ll get back to you as soon as we can.

[Talking Birds 8th December 2020]