Artists Wesam Al Asali, FRAUD and Nastassja Simensky come together to bring a critical framing to the concept of preservation. Embracing different methodologies and spanning diverse contexts – from the Syrian conflict, to pre and postindustrial England – their practices shed light on issues of accountability, agency, power and ownership.
Training Through Production
Training Through Production drew upon Loughborough’s rich history of utopian industrialism, epitomized by Herbert Schofield, principle of The University between 1915 and 1950. The invented folk dance at the heart of the work was developed with the help of its participants, all amateur dance enthusiasts, and choreographer Rosie Heafford. During rehearsals the notion of finding choreography in the everyday underpinned the work’s development, with each participant contributing their own daily rituals to the dance’s evolution. The final performance moved from pitch to pitch by a procession, culminating at the Carillon playing a new composition by Daniel O’Sullivan, played by Caroline Sharpe, Borough Carillonneur.
Training Through Production dancers were: Carolyn Brown, Katie Harrison, Bertie Mathewson, Pauline van Romondt Vis, Daniel Bower, Roxana Morosanu, Helena Parsons, Sally Renshaw, Sarah Knapp, Rhian Morris, Zia Dowling-Haigh, Sophie Chapman, Serena Korda and Rosie Heafford.
Since 2004 Serena Korda has been making public works, developed from encounters, conversations and the researching of abandoned histories. She is interested in the development of invented traditions that highlight ritual in the everyday. Audiences are often encouraged to participate at some point in the process, creating collective experiences that focus on the forgotten and overlooked elements of the everyday.