Observing The Everyday

 Holding it between my thumb and middle finger, I use my forefinger to rotate it. The inside is plastic, the outside tin. I am annoyed that the inside is plastic. I hold it inside my bag, fiddling with it this way, waiting for the train to come before I decide whether to put it on or not.

Please Offer Me A Seat.

  As the train comes in, I can see empty seats, so I drop the badge in my bag and zip it up. I am relieved, because I do not have to break my anonymity by pinning a round blue disk to my coat. I wonder how much more it would have cost them to make the inside out of tin.

There’s no need to explain your reasons for the badge and card with either our staff or fellow customers. Please remember the badge and card doesn’t guarantee you a seat.

 Last month I was too nervous to put my badge on, whilst travelling during rush hour. I stood from West Hampstead until Westminster, my legs gave way, my vision blacked out, I was falling and swaying. I managed to get myself off the train, and sat on the platform for a long time.

A new trial will see disabled passengers and those with hidden conditions, illnesses and injuries receive a blue badge to alert fellow passengers of their need for a seat on public transport.

 The London Underground is the only public transport system, to my knowledge, which acknowledges invisible disabilities in this way.

Whats wrong with you then?

Isn’t that a condition made up by lazy people?

  TFL ‘Safety Blue’, R0 G96 B168, as per the official TFL colour standards. Typeface Johnstone 100, available for use upon request. When a seat becomes available, if both a man and I go to sit, usually they offer it to me. I find this problematic, but I’m less able for reasons other than my gender, so I always take it. I spend the rest of the journey wondering if I should explain this to them. If an elderly person comes on board, I will give them my seat. If I were pregnant, it would read ‘Baby on Board!’, but I’m not, so it doesn’t.  I am ill, I am unwell, I think I am struggling more than you. These are the things between the two lines of text on my badge, the things that float in the blue. Please offer me a seat; specific and invisible made ambiguous and noticeable.∎


BIBLIOGRAPHY:

PLEASE OFFER ME A SEAT, TRANSPORT FOR LONDON, ACCESSED 25TH JANUARY (HTTPS://TFL.GOV.UK/CAMPAIGN/PLEASE-OFFER-ME-A-SEAT)

TFL Colour Standards, Transport for London, accessed 24th January 2018( http://content.tfl.gov.uk/tfl-colour-standards-issue04.pdf)

TFL Font Requests, Transport for London, accessed 24th January 2018 (https://tfl.gov.uk/info-for/suppliers-and-contractors/font-requests)

In The Basement Call Out

IN THE BASEMENT is an art event happening at the Star of Kings in, you guessed it, the basement. This will take place on the 30th of May, doors opening around 7pm. 

The basement has its own bar, a small stage, and sound system. We are looking for works which utilise the low-fi nature of the space, and the stage, walls, and open spaces are all available for use. As such, we are looking for live art, performance, installations and visual work. Work-in-progress pieces are more than welcome, and we will do our best to facilitate feedback. 

Please get in touch with the following information: 

-A bit about you

-A bit about the work you would like to show

-Where in the space you think it would work best (stage, walls, toilets, etc.)

-Duration (if relevant)

-Any audio that is used in your work

This event will be gold coin entry, the proceeds of which will go towards supporting the artists where possible. Unfortunately we can’t offer a fee for this event, which sucks, but we will do all we can to support sourcing materials and any other help you may need. 

We are also looking for people to:

-Cue on the sound desk

-Help with get in and get out

-Make a killer playlist 

-Help on the door

Please pass this info around and contact Kaiya at kaiyawaerea0@gmail.com if you are interested!

A(nother) List of Alphabetically Organised Things

A

B

Cardboard boxes and packing tape and

detailed labels and 

effort. 

F

Give me something else to do.

H

I had a dream where I was arguing with my parents about a performance I had made-

J

K

L

Maybe if I change locations, maybe

N

O

P

Q

Restaurant scene that goes on for 24 hours, written by you,

She talks to me in a way that makes me want to know all of her secrets, and I have never hesitated to tell her I love her lots

-they told me I could never make a living like this. 

U

V

W
X
Y
Z

 

 

A List of Alphabetically Organised Things

Agony aunts.

B

Contract with a stranger.

D

Edible pages with words that don't break down so you can spit them out again.

Fuck, I-

Give me your laptop password.

Have dinner with me?

-I’m working on that-

J

K

Lighting designer to light dance piece with single iPhone torch.

Mixed bill.

Not quite that but some thing similar-

open up

-probably will come together at some point.

Q

Repeated screenings of the same news bulletin. 

Sitting in the back seat of a car, watching the performance in front of you unfold. 

Tell me something, tell them something, tell him something. 

U

V

Working in a sweet shop, wearing candy colour uniforms and speaking in poetry.

X

Yeah, well we-

Z

 

 

 

BLACK/WHITE/BLUE/BEIGE

The stage fell BLACK, but you could just make out the figure, chair under arm. The woman (you could make out it was a woman), placed the chair downstage centre, and then began unraveling a ball of wool, walking from the chair in a large circle, though stage right, up and around to up stage left where she left the remaining wool in a pile. Her head down, she didn’t acknowledge her onlookers as she completed her task.  Exiting the stage with a casual gait, she was followed by a loud round of applause.

Moving out of a gallery environment and into a blackbox theatre, the piece became less about endurance, the sweat and dirt that tainted the WHITE, and more about refinement. 

The Blue Scarf (A Measure of Fidget)

The art of giving a numerical expression to the amount of boredom expressed by an audience.

Act 1: Knitting etc.

Act 2: Where was I again?

Act 3: Head, Shoulders, knees and toes.

bluescarf.jpg

The act of knitting, as anyone who has done it will know, is very time exhaustive. Through time and constant action, it begins to have a valuable outcome. The blue scarf that became a tool in Joel O’Donoghue Companies A Measure of Fidget, has been a catalyst throughout this project in developing my reflection around what it was we were trying to do. 

In A Measure of Fidget, knitting is used to communicate ideas of repetition, and every day action as performance. It is something people do to pass time. Something people do with a final outcome in mind. Through the process of this performance, the blue scarf becomes a documentation of every step, from idea development, to final performance, as the same piece of knitting is continually being used. As such, it begins to question whether the final outcome of this project is the live performance, the physical outcome of the scarf, the documentation of the entire process, or something else entirely. 

Considering these various elements in this way has its roots comfortably in Fluxus, and Dada before it, and like these movements, something far more valuable then any single object can be seen to be emerging. A network of people working with similar intentions, and more importantly, working with conviction. 

An unexpected but exciting outcome from the scratch performance at Displacement festival, was peoples desire to participate. ‘Let us join in!’ was scrawled across many of our feedback sheets, which has filled me with excitement at the possibilities ahead. While act 2 contained beautifully choreographed and improvised movements from Joel, act 3 Heads, Shoulders, Knees and Toes.. made the performance highly accessible to all audience members. From Gary Campbell singing it in Japanese during our warm up, to children joining in during the performance, the playfulness of this act was sucessful in a way we hadn’t predicted. 

Queuing the audio that Joel was responding to, the performance also developed an aspect of trust and endurance. He had no way of knowing when I was going to change the audio to move on to the next act, and as such, had to trust that I would push him hard but know when to stop. The dirt and sweat that gathered on his costume was developing evidence of this. Using uncertain circumstance allowed us to create an opportunity for learning, for everyone involved. 

Choreographer and Performer Joel O’Donoghue  Producer Kaiya Waerea  

Sound Designer Ben Grant Costume Designer Rosemary Maltezos

Check out Joel O'Donoghue Company here