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2020 RESIDENCY - Various Stages (Battersea Arts Centre, London)

Art shortfilm created in the middle of corona in may in Kyiv, 2020

The workshops took place within the context of a week-long residential stay at Battersea Arts Centre for the Hooligan company.

With Various Stages, we had planned three days of work with a young adult community chorus, a 14-strong ‘hooligan chorus’. Unfortunately, we carried out only one of the three intended workshop days for Various Stages, before the crisis intervened, but we agree that a lot was learnt on that sunny day in Clapham.

Jessie is enthused by the group who came to work with us, and is still thinking about them. She is delighted by the response to our open call for participants and intrigued by their motivations for signing up. She feels that this call to participation was itself an important element of the work, as it opened up a space for individual engagement with our subject matter and chosen form, which in turn contributed new perspectives. Some participants had come out of an interest in football hooliganism, or in the themes of tribalism and belonging; others were attracted by an opportunity for collective experimentation in music-theatre.

Pete is moved by the way the Ukrainian actor (and former hooligan) Sam shared his story with the participants and the creative response it inspired in them. Jessie observed that the chorus was able to form an ‘animal’ connection very quickly, creating a lot of noise and a powerful force between them. Pete reflects on how great it was that we created a lot of different sounds together on that first day. Jessie wonders how we would take this brute power and start to introduce disciplines for the creation of sound, collectively and individually, building on our experiments with intoned cluster-chords, chanting, clapping, phasing and tension in the breath.

Olesia remarks on how interesting it was for her to work on the theme of masculinity, particularly from the perspective of domination. In her work Olesia often encounters the expectation that she must be dominant; playing music to a dance floor as an act of power, she feels she is expected to show aggression in the artistic sphere. This parallel with Sam’s story intrigued her. She is happy to be working in a process where the power is collective, a process by which we are not seeking a perfect polished sound, but instead value a spirit of curiosity and interest which does not limit us to the traditional parameters of our individual practices.

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2021 RESIDENCY - Taking The Stage (DCCC, Dnipro)

Art shortfilm created in the middle of corona in may in Kyiv, 2020

The workshops took place within the context of a week-long residential stay at Battersea Arts Centre for the Hooligan company.

With Various Stages, we had planned three days of work with a young adult community chorus, a 14-strong ‘hooligan chorus’. Unfortunately, we carried out only one of the three intended workshop days for Various Stages, before the crisis intervened, but we agree that a lot was learnt on that sunny day in Clapham.

Jessie is enthused by the group who came to work with us, and is still thinking about them. She is delighted by the response to our open call for participants and intrigued by their motivations for signing up. She feels that this call to participation was itself an important element of the work, as it opened up a space for individual engagement with our subject matter and chosen form, which in turn contributed new perspectives. Some participants had come out of an interest in football hooliganism, or in the themes of tribalism and belonging; others were attracted by an opportunity for collective experimentation in music-theatre.

Pete is moved by the way the Ukrainian actor (and former hooligan) Sam shared his story with the participants and the creative response it inspired in them. Jessie observed that the chorus was able to form an ‘animal’ connection very quickly, creating a lot of noise and a powerful force between them. Pete reflects on how great it was that we created a lot of different sounds together on that first day. Jessie wonders how we would take this brute power and start to introduce disciplines for the creation of sound, collectively and individually, building on our experiments with intoned cluster-chords, chanting, clapping, phasing and tension in the breath.

Olesia remarks on how interesting it was for her to work on the theme of masculinity, particularly from the perspective of domination. In her work Olesia often encounters the expectation that she must be dominant; playing music to a dance floor as an act of power, she feels she is expected to show aggression in the artistic sphere. This parallel with Sam’s story intrigued her. She is happy to be working in a process where the power is collective, a process by which we are not seeking a perfect polished sound, but instead value a spirit of curiosity and interest which does not limit us to the traditional parameters of our individual practices.

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2022 RESIDENCY - Parallel residency

(Kyiv / Ponderosa - WUK Theater Quartier, Halle) 

🇬🇧Hooligan Art Community had been supported by British Council Ukraine's ‘UK - Ukraine’ season to present a showcase of their performances in Dnipro, Ukraine in spring 2022. Russia began its full-scale war against Ukraine on 24th February. Planning continued, but for new locations in Germany, with the aim of supporting independent artists who had left Ukraine, as well as those who remained in the country.

 

Four of Hooligan Art Community’s team from Kyiv were joined by four more independent Ukrainian artists in an 11-day residency at Ponderosa Stolzenhagen in Germany at the beginning of May. The artists worked in parallel with two male members of the Hooligan team, joining online from Kyiv (unable to leave Ukraine because of a war-time law). The residency offered space and time for artists to recover creative tools and build a group connection, each artist dealing with the fact of unprovoked Russian aggression and genocide taking place in their country.

 

Following this period, the team traveled to Halle, Germany, where they worked with director Peter Cant, movement director Mathis Kleinschnittger, vocal leader Jessie Maryon Davies and a community chorus of fifteen Ukrainian refugees and local Germans, to develop a new site-specific performance over twelve days.