LDIF22 Launch Programme Notes

From Moving Lines: Fifty Reasons to Dance by Patiricia Vester

Let’s Dance International Frontiers 2022 Launch Friday 29 April 2022 Leicester Museum and Art Gallery Programme Welcome by Pauline Black OBE DL

Patron of Serendipity Institute of Black Arts and Heritage

Pawlet Brookes MBE

CEO and Artistic Director of Serendipity Institute of Black Arts and Heritage

Performances

Nus Descendant L'Escalier Nudes Descending the Staircase

Siren Calls: To an Illusive Journey

Annabel Guérédrat and Henri Tauliaut Artincidence

Composed by Philip Herbert First interpretation choreographed

by Monique Jonas Dancers

Monique Jonas Analeise Auguste Ebony Robinson

String Quartet

Emma Blanco David Kadumukasa Ronald Long Natalie Taylor

Monique Jonas by Jack Thomson Photography

Welcome I am delighted to welcome you to the launch of Let’s Dance International Frontiers 2022, as a predominantly live, in person festival.Sharing physical space is creates something in the moment that cannot be replicated, dancers respond to the stage they are performing on, the audience they are performing to, the city they are performing in. There is something to treasure when you are sharing that space and time together.

The theme for LDIF22, In Situ: Responding to Space, Place, People and Time, was really inspired by considering how dance inhabits different spaces. Over the last two years, restrictions have shifted the landscape of performance online, however, dancers themselves have taken to the streets to dance, they have taken classes in their kitchens. I think that dancers have always created site specific works, this has certainly been true for LDIF over the years. I think that restrictions have forced us to consider the performance space in a different way and we have seen this for ourselves as we have collaborated with artists to produce work throughout the pandemic. I hope you enjoy the launch weekend programme and the full festival of performances, discussion, masterclasses and online.

This evening we present a the first of two choreographic interpretations set to Philip Herbert’s new score, Siren Calls: To an Illusive Journey which embodies the experiences of the Windrush generation. This choreographic interpretation by Monique Jonas and Jona Dance takes place in the Victorian Gallery, imbued with the sense of history and colonial legacy that such spaces contain. Yet, as Monique describes herself, the piece carries with it an understanding of the pain, but also a celebration of the people.

The second interpretation of Siren Calls: To an Illusive Journey by Tabanka Dance Ensemble will be shared tomorrow evening at Sue Townsend Theatres.

Nus Descendant L’Escalier has been reinterpreted in spaces and places around the world.

We are thrilled that we are finally able to share this work in Leicester. The work was originally intended be part of the festival in 2020 and we are thrilled to finally share it with you.

We are delighted at this launch event to also announce Pauline Black OBE DL as the newest patron of Serendipity Institute for Black Arts and Heritage.

We hope you enjoy this event and events throughout the festival and take time for gratitude at this opportunity to both reunite with old friends of the festival and meet new faces.

Let’s Dance!

Pawlet Brookes MBE CEO and Artistic Director

Annabel Guérédrat and Henri Tauliaut , Artincidence

Nus Descendant L'Escalier Nudes Descending the Staircase

Annabel Guérédrat and Henri Tauliaut Artincidence A Critical Positioning of West Indian Society From magico-religious to burlesque…

Dominique Berthet [an art critic and professor] an exhibition Transgression(s) in March 2013, featuring several artists from Martinique, sharing work centred around the theme of overcoming, audacity, transgression. At that time, the work Nu Descendant L’Escalier [by Marcel Duchamp], by its title, and by its polemical side at its time, inspired me to create my own Nu Descendant L’Escalier. I chose performance as my medium; I chose a cemetery as a place and I chose as an action to transgress the cemetery by going down its stairs practically naked with my partner.This was then filmed as a video performance.

Two years later, I proposed to Annabel Guérédrat, a performance artist, to create two other Nus Descendant L’Escalier, together: the one at the Memorial ACTe for the opening of the Caribbean Festival de l'Image and the cemetery at Morne-à-L'Eau. [In Guadeloupe, see Nus Descendant L’Escalier n#3 at https://youtu.be/hSryAjGBaXk] At the Mémorial ACTe, Annabel and I perform Nus Descendant L’Escalier, to question the master/slave relationship by shifting it into the couple and sado-masochistic relationships. At Morne à L'Eau cemetery, we add ritual gestures, Annabel “blessing” the dead with a perfumed liquid taken from a “success” vial; to hope to reap success in our global performance project "a smell of success".

Henri Tauliaut

Biographies Henri Tauliaut For two decades now Henri Tauliaut, artist and researcher, has been investigating in his work relationships between art and science, focusing on two principal topics: digital art and performance. Since December 2019, Henri has been working on a doctoral thesis: Biological and digital arts in relationship with the living among contemporary Caribbean and American artists.

Henri Tauliaut exhibited his art and performed in the Caribbean region, South and North America, France, Senegal and China. Since 2013 Tauliant has presented: 2013 - E.I.M.O. (Environement Interactif Minimaliste et Organique) at the International Biennale of Contemporary Art in Martinique.

2015 - representing Guadeloupe/France at the twelfth Havana Biennale with the project Jungle Sphere 3.0.

2016 - Tauliaut presented his work Flying Shape Courtship at the National Gallery of Jamaica, during the international exhibition (digital).

July 2018 – Tauliaut’s artist residence at the prestigious Red Gate Residency in Beijing, China.

October 2018 - Empowerment exhibition at Fonds d’Art Contemporain in Guadeloupe.

April 2019 – performance of Bubbles at Wolfsonian-FIU Museum of Miami, as part of the Festival du tout-Monde organised by the French Institute of Miami.

Given that “confinement” is working to promote Afro-Caribbean spirituality including Voudou, Santeria and Candomblé religions by using the playful approach of video art game and installation art.

Since 2015, he produced a series of performances with choreographer-performer Annabel Guérédrat. Together, they developed various artistic universes such as Aqua, Iguana, AfroNative-Punk and Techno-Shaman. They are also co-directors of Cyber Afro-Punk Laboratory focused on performative and Land Art practice at Savane des Petrifications in Martinique. In 2016, Henri Tauliaut and Annabel Guérédrat were invited to the artist residency NAVE in Santiago de Chili and in April 2017 they organised the first edition of FIAP (Festival International d’Art Performance) in Martinique. Henri Tauliaut also created monumental murals such as Matynina at Malecon in Fort-de-France in 2017 and Rizome in June 2018 at the University Library of the University of Antilles.

Annabel Guérédrat Annabel Guérédrat is a choreographer, dancer and performer from Martinique where she lives and works. She is certified in literature and history from the renowned University of Sorbonne, Paris and an educator in the art of Somatic movement through the Body Mind Centering® method. Guérédrat is also certified in contemporary dance, she was trained in Afro-Brazilian dance, Butoh dance, yoga and pilates. The somatic techniques she acquired through all this training allowed Guérédrat to include in her performances very personal and sensitive gestures. In 2003, Guérédrat founded her own dance company, Artincidence.

From 2006, she continued to lead the company alongside her creations, danced actions and workshops for sex workers, prisons, and educational, medical, social and humanitarian environments. Then she opened herself up to new exchanges and created new artistic collaborations with Caribbean, South American and African choreographers.

In 2008, Guérédrat was recognised for her authentic solo Resilience at the first Caribbean Biennale of Dance in Havana, Cuba. Between June and September 2010, she made three decisive encounters. She met with Meredith Monk, Keith Hennessy and Anna Halprin.

Hence followed her performance A Freak Show for S. presenting her whole body as an opened entity and paying tribute to the Black Venus, Sarah Baartman. In 2012, Guérédrat opened a new cycle of performances around Black feminism, concerning the social and politic body of Black and mixed coloured women in the Caribbean area. Finally, in 2015, more preoccupied by the question of post-identity, she created the duo, Valeska and You with the performer drummer Franck Martin, around the figure of the witch, inspired by Valeska Gert.

Between 2015 and 2017, she realised a new series of performances about Caribbean myths: A Smell of Success, Success is Success and Sun of Success with the visual artist Henri Tauliaut, from Guadeloupe. As previously mentioned, she founded FIAP (Festival International d’Art Performance) with Henri Tauliaut in April 2017 in Martinique. The second edition of FIAP took place in Martinique in November 2019. In 2018, Guérédrat created two new performances about modern witches: Hysteria and I’m a Bruja.

Notting Hill Carnival (1959) Trinity Mirror / Mirrorpix / Alamy

Siren Calls: To an Illusive Journey for String Quartet

by Philip Herbert Commemorating Windrush Day A description of the movements by Philip Herbert.

1. Siren Calls: To an Illusive Journey In a microcosm, this piece strives to crystallise the experience of a generation in the Caribbean, who received a call from the Motherland (United Kingdom) to come and build it up, by filling vacant spaces in various occupations, in the UK. Musical themes symbolise the dialogue from the Motherland with the Windrush generation.

The first half of the quartet movement concerns itself with the siren calls from the Motherland; the second half denotes the response from the Windrush generation to those Siren Calls, in musical references.

The piece starts with a cheerful, energetic theme, in the first violin, supported by accompanying rhythmic textures up to bar 6.It is symbolic of a people who were content and happy to be in their homeland. The music transitions from bar 7 through a slowing in the tempo in variant of the original theme, onwards to a blur of harmonies in bar 13 over which the first statement of the ‘Westminster Quarters theme (1794)’ which is used to symbolise the siren calls of the Motherland, and played by the first violin in this first statement. This theme is stated in various ways throughout this movement, with varied levels of urgency. The final note in this theme is never stated to complete the theme, just like the reality of the invitation that was extended to the Windrush generation: the fullest implications of responding to an invitation and the experience of being a citizen in another country was never fully quantified.

A soulful contemplative chorale follows, symbolic of the experience a generation had to go through when reflecting on what it would mean to have to leave their homeland to embrace life in another country.A slow calypso theme continues this mood almost as if there is an acceptance of the opportunity that life would provide in another country - referred to as The Motherland.

The mood is broken by a bar of silence with the return of the Westminster Quarter theme (1749) played with agitated effect, as the strings play it with tremolando bowing which is evocative of the response to an invitation, where the hopes, fears and concerns would surface when contemplating moving to another country to become a citizen. The reflective chorale theme returns which leads us to the water theme where there is a brief quote of the spiritual (Wade in the Water bars in the first violin, which is accompanied by the ‘viola and ‘cello in another reflective and emotional theme (symbolic of the journey on the HMT Empire Windrush). The solo ‘cello theme returns leading to another joyous statement of the calypso.

This symbolises the momentary relief and joy of arriving in the destination Motherland, after so much contemplation, about what a new life in a new country might be. After a bar of silence, the ‘Westminster Quarter theme’ (1749) returns played with tremolando bowing symbolic of digesting the stark reality of the arrival in the Motherland.

This movement for string quartet finishes with three statements of tonic to dominant notes, accompanied by minor chords, which is reminiscent of the two notes which start Lord Kitchener’s famous calypso London, is the place for me… Looking back from the vantage point of 2021, the arrival of a new generation from the Caribbean, who came on the HMT Empire Windrush to England, were to learn very quickly, how challenging the Siren Calls: to an Illusive Journey to the UK might be.

2. In search of gold: in the promised land This movement embraces the aspiration of the Windrush Generation in their quest to find a better quality of life. Nevertheless, they were to be surprised by what they found.

Here the musical narrative starts out with a blues bass theme, followed by accompanying textures supplied by the first violin and viola, which is overlaid by a melodic solo from the second violin. It strives to capture the challenging process of looking for housing only to meet with rejection, with slogans of “No Blacks, No Dogs and No Irish” posted in the windows of prospective dwellings. The prospect of finding work of the kind and quality that they aspired to was also a challenge. The work song – ‘I be so glad when the sun goes down’: it reflects the hard work that the Windrush Generation had to do to get anywhere. A more positive mood is engendered with the sound world of reggae music - which was reminiscent of happier times with social life, enjoyed with friends and family. Nevertheless, this was to be short-lived as there were other members of the community in the UK, who were not so welcoming. The music breaks off into dissonance, tremolo figures and hard blues riffs and blues bass ostinato figures. This demonstrates how harsh the social conditions were and the clashes with the skin heads. The music becomes more animated and discordant in a triplet theme showing how a fight became more and more animated. A theme for the violin sounding like a police siren evolves. The movement ends with another incomplete statement of the Westminster Quarter theme… reminding us where we are in this narrative.

3. The Trap This movement reflects on the way in which various Acts of Parliament changed, forcing citizens to have to prove that they were citizens of the UK, even if they had lived and contributed to the UK way of life for many, many years.

This movement starts out with dissonant harmonies, which never seem to really come to a cadence point, over a repeated ostinato bass line. This movement moves on to more seductive, charming and pleasing musical themes.There are national anthems from Germany, Italy and Hungary (countries who fought for Hitler) who were preferred citizens in the UK by Clement Atley, over the Windrush Generation. The bitterness of the harmony surrounding the Jamaican National Anthem relates in musical terms how the Windrush Generation suffered in the process of trying to prove that they were British Citizens. The music from the opening section of the music returns. This movement is concluded by statements of the Westminster Quarter theme, played pizzicato.

4. Unlocking the future: Changing the vision This movement reflects on the fall out of the Windrush scandal. The subtle roll of the triplet theme eventually erupts, explosively as an expression of the outrage that has been felt by the scandal. A plaintive theme for the first violin, with a pulsating accompaniment continues the narrative, moving on to a brief statement of the spiritual ‘Wade in the water’ - a call to embrace the present difficult challenges.

The rolling triplet theme returns with the explosive outbursts, leading to a sequence which seems to roll and ramble - a bit like the experience of those who have had to navigate the Windrush scandal, being pushed from pillar to post. At the end of this sequence the siren calls in the Westminster Quarters theme returns briefly - a bit like the powers that be present but not really engaging with the scandal. A passage that has a funereal quality follows, which provides space to reflect on those who have endured this scandal, but in the process have lost their lives - in the process of the fight for citizenship.

A reprise of the opening triplet theme with its explosive outbursts returns. This is followed by a brief statement of the spiritual ‘Wade in the Water’, with a lilting accompaniment. After this the mood breaks and lightens with a brief statement of the spiritual ‘We shall overcome’ to conclude this movement in a spirit of hope for the future, despite the challenges. ©️Philip Herbert 2022

Siren Calls: To an Illusive Journey was commissioned by Serendipity Institute for Black Arts and Heritage.

Biographies Philip Herbert Composer Philip Herbert was born in London (UK) and is an award-winning British Composer with eclectic musical interests. He has written choral music, chamber music, music for film, dance and for the concert hall. Herbert has developed a portfolio career, combining teaching, performance, curation, writing for publication, developing and devising workshops and projects, Assessing Music projects for the Arts Council of England, Broadcasting and Composing.

Herbert has taught at secondary and university levels, as well as collaborated with some of Britain’s finest musicians in the creation of workshops, projects and residencies for young people and people of all ages and abilities. He has a keen interest in the historical contributions which Black Composers have contributed to classical music and has conducted research trips to University Departments and archives in the USA in search of books, documentation, scores and recordings, along with key information from archivists, which explains the significance of the works which have been found in the archives. This experience has informed his contributions to interview segments he has been invited to contribute to Classics Unwrapped for BBC Radio Scotland presented by Jamie Mc Dougall, The Trumpet Shall Sound for BBC Radio 4 presented by Julian Joseph OBE British jazz pianist, bandleader, composer, arranger, and broadcaster, In Tune with Suzy Klein talking about his London 2012 Project ‘Ballare: To Dance’ that featured musical influences from around the world and also Sean Rafferty, talking about the project ‘Lost Chords: Unsung Songs’ featuring music from the Harlem Renaissance - which was toured across the UK, finishing in the Purcell Room at the Southbank Centre.

Herbert was invited to write music for the film ‘The Future’ by the Italian Film Director, Enrico Poli. The film was awarded first prize in the film festival Visione Italiane, in the category, Visione Acquatische. Herbert’s music has been performed by a variety of ensembles including the BBC Singers, Alasdair Malloy (Principal Percussionist of the BBC Concert Orchestra), London Mozart Players, Sinfonia ViVA, the Royal Ballet Sinfonia, the Philharmonia, Orchestra of the Swan, Detroit, Houston, American Youth Philharmonic, Colorado University Philharmonia, Capital Philharmonic new Jersey, Minnesota, Nashville Orchestras and a String Quartet at the LSO. Currently, Herbert is working on a commission from Serendipity Institute for Black Arts and Heritage which celebrates the Windrush Generation. He has written a string quartet as a dance score in four movements, entitled ‘Siren Calls: to an Illusive Journey,’ which is to be choreographed by Monique Jonas and Thomas Prestø. In addition, he has been commissioned by the BBC Concert Orchestra to write a piece for the PRS New Music Biennial 2022. Additionally, the Charlotte Symphony Orchestra in North Carolina USA, will be performing ‘Elegy’ in April 2022.

Emma Blanco Violin Emma Blanco studied at the Royal College of Music with Yossi Zivoni and later with Rodney Friend and has enjoyed a varied career since, with a busy schedule in London, the UK and around the world.

Blanco was First Violin with touring comedy string group, Graffiti Classics from 2010 - 2014.

She has recorded and performed live with many prolific artists including Tito Jackson, Beverley Knight, Sister Sledge, Will Young, Muse, McFly, Katie Melua, Olly Murs, Imogen Heap, Jools Holland, Ray la Montaigne and Peter Gabriel. She has toured the UK with the Heritage Orchestra and world-renowned DJ, Pete Tong and led the London String Group supporting Jimmy Somerville on his most recent UK and Europe dates. Blanco is the violinist in the renowned Tango Siempre band with bandoneon maestro, Julian Rowlands and appears regularly in the West End and at the National Theatre and has played on productions including West Side Story, Sinatra, Funny Girl, Follies, Pinocchio and, since 2022, Cinderella.

Blanco was leader of the Young Musicians Symphony Orchestra and the London Soloists Chamber Orchestra. Blanco makes guest appearances with many London orchestras including the Royal Philharmonic Orchestra and London Concert Orchestra. Blanco has been leader of the Docklands Sinfonia since 2013. Blanco has been collaborating since 2008 with Cuban virtuoso guitarist, Ahmed Dickinson Cardenas, as Duo and Trio Mestizo, and until 2013 with the Santiago Quartet.

Blanco has been Head of Strings at Tonbridge School since 2019. Last year, Blanco was invited to write all the Performance Notes at Grades Debut-8 for a brand-new violin syllabus, published by RSL, that incorporates classical, jazz, pop and classical crossover genres.

David Kadumukasa Cello Kadumukasa is a London based freelance cellist and teacher. Since graduating from the University of Manchester and Royal College of Music he has played with orchestras including the Royal Philharmonic Orchestra, RTE National Orchestra of Ireland and with the Chineke! Orchestra, since it’s inception in 2015. As soloist he has performed Dvorak, Elgar and Panufnik cello concertos.

In addition to his orchestral work Kadumukasa has performed extensively in theatre productions including the (UK) National Theatre production of Hadestown and the West End run of the musical-ballet Inala. His varied portfolio also encompasses recordings and performance work with leading figures from the world of jazz including Guy Barker and Denys Baptiste, and legendary artists from the pop music arena such as Annie Lennox and Jerry Dammers of The Specials.

Ronald Long Violin American violinist Ronald Long spends most of the year performing with major UK ensembles including the Aurora Orchestra, Welsh National Opera, Chineke! Orchestra and Southbank Sinfonia to name a few. When he’s not performing on the stage, he has a love for working with Hollywood actors on how to play the violin, conduct and write music on the screen. Ronald has been heard in festivals throughout the world from the Ghent Festival, Edinburgh International Festival, Eastern Music Festival, Cambridge Music Festival, Wimbledon Music Festival, and London’s BBC Proms.

Long graduated from the Manhattan School of Music studying with Pinchas Zukerman’s assistant Patinka Kopec and spent a year of Masters at the Paris Conservatoire studying with Boris and Daniel Garlitsky.

Long hopes to continue his career in chamber music, teaching and inspiring other young musicians.

Natalie Taylor Viola Natalie Taylor was born and raised in Tottenham, London, her parents having emigrated from Montserrat, W.I. She started the violin aged 8 but was encouraged to switch to the viola 4 years later. At 14 she went to study at the Junior Department of the Royal College of Music and later continued her studies at the Guildhall School of Music and Drama under Amanda Denley, developing skills as both a chamber musician and orchestral player.

After graduating, Taylor gained the position of Tutti Viola with the BBC Symphony Orchestra, where she has been a member for over 25 years. With them she has toured extensively across Europe, Asia, the US and Australia as well as performing regularly in London at the Barbican Centre and at the Royal Albert Hall during the BBC Proms season.

She has also performed regularly with Rambert Dance Company, Guy Barker’s Big Band, the London Symphony Orchestra and the Chineke! Orchestra since it’s inaugural concert in 2015.

For twenty years Taylor has coached and led the Viola section of Forest Philharmonic Orchestra based in North East London, with whom she has also appeared as soloist in a performance of Mozart’s Sinfonia Concertante.

Monique Jonas Choreographer and Dancer Jonas began dancing with the Chance to Dance programme before training at the Arts Educational Schools London in Musical Theatre and Jazz dance. She completed her training at the Rambert School of Ballet and Contemporary Dance and received her Master’s Degree from The London Contemporary Dance School, passing with distinction in 2017.

Jonas joined the Richard Alston Dance Company as an apprentice in 2016 and has toured extensively, both nationally and internationally with RADC until their final performance in 2020. She has recently been a part of both the creation, and the 2019 UK tour with Mathew Bourne’s New Adventures, in their latest production of Romeo and Juliet. Her commercial work includes working for Paloma Faith, Jamie Cullum, Amaarae and Arcade Fire.

Externally, Jonas has newly founded her own dance company, Jona Dance. She has been choreographing, movement directing, teaching and producing work both online and in person, with the aim of amplifying silenced voices through contemporary dance in the UK. Over the years, Jonas has also worked with Rambert Dance Company- A Linha Curva and Garsington Opera, Sally Marie, Hubert Essakow, Kim Brandstrup, Arcade Fire, Theo Adams Company, The Ramona Flowers and Chris Thomas Dance to name a few. She is currently on tour with Mathew Bourne’s Nutcracker!

Analeise Auguste Dancer Analeise Auguste was born in Trinidad and Tobago and grew up in London. Dance and music have always been a big part of her life which stems from her Trinidadian culture where dance and music is a way of life.

Analeise loves to create and work with a lot of musicality, rhythm, groove dynamics and physicality within her dance. She gained her contemporary dance training at the London Contemporary Dance School where she studied various styles such as Cunningham, Release and Floorwork. She graduated with a First-Class Honours Degree in Contemporary Dance (2018-2021).

She has now gone onto work with various choreographers such as Monique Jonas, Jamaal Burkmar, Holly Blakey and companies including Hofesh Shechter dance Company and ACE Dance and Music.

Ebony Robinson Dancer Ebony Robinson is in her final year studying contemporary dance at Trinity Laban. She began her journey into dance through commercial and hip-hop before studying at Rubicon Dance College where she gained a vast knowledge and experience in a broad range of dance styles including ballet, jazz and contemporary techniques. Recent credits include working with Matthew Harding for The Place Resolution Festival and Jona Dance for Let's Dance International Frontiers. She is passionate about promoting diversity in dance and creative positive environments for growth and sharing.

Aminata Kamara Creative Hairstylist Aminata Kamara is a Creative Hairstylist from Leicester and founder of ROY, the Afro hair styling service that specialises in creating beauty and editorial hairstyles that are seamless, versatile and classic.

ROY was established out of a need for seeing more creative hair styles on set, for Black and mixed heritage women with Afro/curly hair. As a Black woman, Aminata feels strongly about bringing excellence to creative spaces, giving Black models the opportunity to look and feel their best in a space where they are often the minority.

In addition to hair styling, Aminata is a BBC Radio presenter where she shares inspiring and compelling stories from Leicester’s Black community.

Serendipity Institute for Black Arts and Heritage Serendipity Institute for Black Arts and Heritage, Leicester. Serendipity’s mission is to centre perspectives from the African and African Caribbean Diaspora, embedded as part of cultural experiences for all. Serendipity’s programmes include the flagship dance festival, Let’s Dance International Frontiers, Black History Month Leicester and the Annual Windrush Day Lecture. Serendipity have established a legacy; hosting a growing living archive documenting Black arts, heritage and culture, publishing the voices of Black arts practitioners and community activists, nurturing artists to create high quality new work and mentoring young people.

Let's Dance International Frontiers Launching each year on 29 April, to celebrate International Dance Day, LDIF brings diversity to the forefront in dance with a two week festival showcasing new work from local emerging talent to internationally acclaimed companies. Showcasing high quality dance that celebrates diversity and intersectional identities, to date has supported the work of 280 artists from over 46 countries The theme for LDIF22 is In Situ: Responding to to Space, Place, People and Time.

Unearthed: Forgotten Histories Unearthed: Forgotten Histories, seeks to make a structural difference to the recording, documentation and sharing of Black history and heritage in the UK, and to give back hidden histories for everyone to share. Serendipity will create a digital living archive that encompasses the history of the African and African Caribbean communities across this region, amplify the historical picture and tell stories from a different perspective. Alongside this, Serendipity will lead on Young Archivists, an accredited training programme aimed at young people from diverse communities who are currently under-represented in the heritage sector, to learn from heritage experts. Educational resources, events and exhibitions are also planned with volunteers given training to develop skills and support the collection and preservation of oral histories and archival material.

Black Digital Dance Revolution Black Dance Digital Revolution is a nationally significant project working with regional partners; Serendipity (Leicester), Northern School of Contemporary Dance (Leeds), Dance City (Newcastle), Dance Umbrella (London) and beyond. Drawing on the dance heritage of these four cities to develop a touring exhibition and online interface, alongside the creation of a short dance films, accompanied by CPD opportunities, workshops and artist led residencies, commitment to access and underserved communities.

21 Bowling Green Street Leicester LE1 6AS

CL00.14, Clephan Building De Montfort University, The Gateway Leicester LE1 9BH

+44(0)116 482 1394 info@serendipity-uk.com www.serendipity-uk.com

@SerendipityLeicester @serendipity.ltd @serendipityinfo Serendipity Artists Movement Ltd. is incorporated under the Companies Act. Company number 07248813 and its governing document is its Memorandum and Articles of Association.

Serendipity Artists Movement Ltd. is a registered charity, number 1160035.