Workshops

ALL WORKSHOPS REQUIRE PRE-BOOKING. BOOK HERE
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our choice of workshop determines where you spend the second day, so please peruse the overall programme before making your decision. Moving between the two sites is not straightforward, and we have designed the programme to group papers and activities appropriate to each site. Bus transportation will be available (book here) at the beginning and end of the day. Your choice of workshop will determine where you spend the day.

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image: Henrietta Sampson

Dartington Hall workshops

 

Leader: Daniel Eltringham
Workshop
When: Workshop session 1 (Day 2, Dartington, 14:30)  BOOKING REQUIRED BOOK HERE
Limit: 15
Title: Tracing the Pales: walking the several enclosures of North Wood

A site-specific walk that traces the palings and earthworks of North Wood – Dartington Hall’s deer enclosure – reflecting on the imperfect overlay of the park’s several palings and enclosures and their relation to later land enclosures, its former gateways for entry and exit, and areas that have been disparked and given back to the ‘open’.

The spatial and political form of the Norman deer park was an imported enclosure dedicated to leisure that violently displaced existing settlement and radically altered social-ecological systems. Drawing on E. P. Shirley’s Some Account of English Deerparks (1867), and in dialogue with Peter Larkin’s philosophical interrogation of the porosity of inside and outside in Enclosures (1983), whose terrain is a far larger Norman deer enclosure, The New Forest, I will produce a poetic ‘trail guide’: a collage of text, maps, government documents and heritage publications. Participants on the walk will refer to this document as a guided unearthing.

I have never been to North Wood, to borrow from the first line of Douglas Oliver’s map-poem ‘Ordnance Survey Map 178’. This work proposes, therefore, to be the product of cartographic and textual readings of the place which, upon encounter with its physical reality, could turn out to have been a projection of my interests, politics, way of reading, or just plain wrong. Probably I won’t realise this until the walk is taking place, and the grain of the place pushes back

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the North Woods at Dartington Hall (image: Dartington Hall Trust)

 


 

Leader: Sarah Gray
Workshop
When: Workshop session 1 (Day 2, Dartington, 14:30)  BOOKING REQUIRED BOOK HERE
Limit: 15
Title: Sound walk: walking the Dartington Hall Estate

DOWNLOAD THE MP3
DOWNLOAD THE WAV

A sound walk of the Dartington Hall Estate for participants, playable from their own personal management devices (e.g. smartphones) through headphones or earbuds. Digitally downloadable, the sound file is intended to be listen to whilst walking. The sound walk offers walkers an aestheticised experience of the landscape, through layering of stories, sonic scores, atmosphere and field recording. The walker can plug-in and be guided by a disembodied voice, an invitation-maker providing sound makers, mapping out a journey through space and time. Participants will be invited to notice their inner sensations and stories with the landscape, to move their bodies through space, making simple enquires inspired by my practice of somatics bodywork, authentic movement and deep listening.

This walk can be performed at any time throughout the event, but Sarah is also offering this workshop for a group to experience.

The workshop will involve moving and walking on uneven ground so please wear appropriate footwear and warm, comfortable clothing.

Sarah Gray has worked on the Dartington Hall Estate for over ten years as an artist, theatre maker, union President, arts administrator, library assistant, tour guide, radio presenter, community arts producer, governor, director and teacher.  In 2015, Sarah began a performative enquiry Sound Journeys on the land at Dartington exploring memory, sense of place, and her relationship with the space through walking, writing, sounding, recording, somatic movement and performance.

 


Leader: Grant Smith and Dawn Scarfe
Workshop
When: Workshop session 1 (Day 2, Dartington, 14:30)  BOOKING REQUIRED BOOK HERE
Limit: 10
Title: SOUNDTENT (by Soundcamp)

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SoundCamp will be exploring soundscapes around Dartington Hall from a listening lab in a tent on the edge of the gardens (location will depend on mobile signal achievable). We will use a variety of audio devices,  live streaming with mobiles and Raspberry Pi’s.

The Third Landscape – an undetermined fragment of the Planetary Garden -designates the sum of the space left over ..(délaissé) .., transitional spaces, neglected land (friches), swamps, moors, peat bogs, but also  roadsides, shores, railroad embankments (Clément)

Victor Hugo called it “bastard countryside”. The landscape theorist Alan Berger called it “drosscape”. The artist Philip Guston called it “crapola”. And the environmentalist Marion Shoard called it “edgeland”, .  (McFarlane)

Drop in
Wednesday lunchtime 13.00-14.30
Wednesday evening chorus to night paddle form 21.00
Thursday dawn chorus 04.00

BOOK
Thursday workshop 14.30

Download the free streaming app Locuscast: http://locusonus.org/locustream/

http://soundtent.org
contact@soundtent.org

 


 

Leader: Rhys Trimble
Workshop
When: Workshop session 1 (Day 2, Dartington, 14:30)  BOOKING REQUIRED BOOK HERE
Limit: 15
Title: writing workshop in three parts: Poetics of Spatial & SublimeProcessual PoeticsPoetics of Walking

There are three units of 25-30 minutes each with a group session to finish. You’ll be asked to sign up to all three.

Poetics of Spatial & Sublime
The techniques that both describe and evoke spatial experiences and ‘the sublime’ taken here to mean an ‘overloading of the senses’ as described by Burke and others. Spatial page arrangements, open-field and techniques allied to visual arts and concrete poetry.

Processual Poetics
Based around the concept of ‘Counter expressive poetics.’ A workshop which is derived from Bernadette Mayer’s experiments. (http://writing.upenn.edu/library/Mayer-Bernadette_Experiments.html) The generation of text from other sources and their development into a finished work.

Poetics of Walking
The Welsh word for poem in welsh is ‘cerdd’ which relates to walking ‘cerdded’ the two practices are closely related in a number of cultures. Creative texts based around what is gathered from a specific walk. Includes a walk, so please bring suitable clothing/foorwear. Examination of ‘radical landscape’ poets and their writing practices.

keywords: open-field, landscape, spatial-poetry, sublime, poetics, walking, observation, experiential, poetics, cut-up, recontextualization, processual poetry, collage


 

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River Dart at Dartington (image: Dartington Hall Trust)

 

Leader: Elizabeth Jane Burnett

River Swim (AT YOUR OWN RISK)
When: Workshop session 1 (Day 2, Dartington, 14:30)  BOOKING REQUIRED BOOK HERE
Limit: 15
Title: SWILLOWING: Wild Writing Swimming in the Dart
Description:  “there is nothing…half so much worth doing as simply messing about in the river” – Ratty, The Wind and the Willows

Swillowing is a curated swim in the river Dart. Following Ratty’s premise, we will take part in a guided mess about in the river. This “work”shop will reflect on the swimming process and the opportunity it provides to break out of working routines and how this might be helpful for our writing practices. There will be some site-specific writing and a mix of group and solo work and play.

Some experience of swimming in open water is advisable though not essential. The activities are not focused on speed or endurance and are non-competitive. However, the water can be very cold, so you will need to be able to brave temperatures and be able to access the river from its banks. The swim will take place on a stretch of water about 10 minutes’ walk from the Estate which is rich in swimming history. Please bring a pen/pencil and paper and a towel and some warm clothes to change into afterwards.

“and when tired at last, he sat on the bank, while the river still chattered on to him, a babbling procession of the best stories in the world, sent from the heart of the earth to be told at last to the insatiable sea.”

 


 

Leader: Beatrice Jarvis
Workshop
When: Workshop session 1 (Day 2, Dartington, 14:30)  BOOKING REQUIRED BOOK HERE  WORKSHOP DOC
Limit: 16
Title: B’fhéidir anseo tá mé saor in aisce. (A study in the possibility of the sensations of home)

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I lie under the blanket of the forest 
I lie in the shield of heather as a ram inspects my feet I am here 
I walk up the steep bank carrying my wares Handmade twine as treasure 
My House 
I build 
My body 
A Shelter 
I will rise with the sun and 
Fall between the stream and gorse

Perhaps here I am free.

Archive, experiment, create, return, bury, form, reflect, record, document.
A living archive of sensation.

In this unique and intimate site specific performance; Beatrice creates a shelter and shelter installation made only from materials sourced from the Dartington Estate. Concealed in the forest; this durational performance invites visitors into her dwelling to hear a series of readings she has made about the breath and embodiment of the landscape; culminating in a series of ritual movement sharings.

The goal of this performance installation is to uncover spaces of experiences and transformations of bodily states, which raise questions about physical and mental conditions. Constructing a simple dwelling place, a shelter to explore ideas of habitus guided by what it means to simply exist in a landscape. How far can performance and artistic occupation subvert or alter an experience / reality of the fabric of a site? Exploring aspects of Butoh performance and somatic embodiment to explore primal states of being in this unique setting. This work will embody a meeting of mind to landscape, a ritual performance which seeks to explore the notion of capturing a state of being.

 


 

Leaders: Artist Mark Leahy and botanist/basketmaker Richard Lewis
Workshop
When: Workshop session 1 (Day 2, Dartington, 14:30)  BOOKING REQUIRED BOOK HERE
Limit: 15
Title: The Overlooked Specimen: Toward a Herbarium for Schumacher College

(a workshop looking at and thinking about looking at plants)

In this workshop we will look at plants, plants that might be overlooked, bringing attention and awareness to them. We will consider how we look, and what we see, and how we tell the story of how we look and how we describe what we see.

A herbarium sheet presents a preserved botanical specimen with information on its name, collector, and location it was found in. There is a proper syntax to the presentation of material on the sheet, allowing for cross-referencing and showing of relationships. We will consider the method of preserving the specimen, and how ways of looking may generate other information that could be included on the sheet.

In preparation for the workshop, as you spend time on the estate during the symposium, and as we walk to the gardens to begin the workshop, notice the plants around you, and notice your noticing.

We look forward to working with you,
Mark Leahy and Richard Lewis

Rumex acetosella

 


 

Sharpham House workshops

Workshop session 2 (Day 2, Sharpham 14:30 BOOKING REQUIRED)
Leaders/Facilitators: Alicia Grace, Kate Amphlett, Toby Morgan
Workshop / Discussion
Limit: 15 BOOK HERE

Title: Tickling the Touchstone: how to humour & harness the thorny issues of social exclusivity in Romanticism & Environmental Arts practice

Terry Eagleton describes the touchstone of English literature at the beginning of the 20thC as embracing a “creative wholeness”… and where participating in the study of English “was less an academic subject than a spiritual exploration coterminous with the fate of civilisation itself”, … literature was “an organic society all of it’s own, it was important because it was nothing less than a whole social ideology” (Eagleton, 2003).

Does this notion of exclusive organic society persist? How could we know? What of those dispossessed of wholeness, unable to wander their way to the walled garden and scramble over the judicious ruins? How & where have they been positioned in the fate of civilisation … and by whom? What socio-economic meanings lurk within the classic environmental coterie of Horizon, Mountain, Wanderer, Tree, Peasant? Who cares?

We will address this concern of exclusivity in a lively learning space, by juggling critical reading skills with a play ethic inspired by Joseph Meeker’s The Comedy of Survival & Augusto Boal’s Theatre of the Oppressed.

For extra laughs we will explore writers who spotlight prejudice within the cult of sensibility, including Kathleen Jamie’s ridiculing of the “lone enraptured male”, Jane Austen’s send up of the gothic, and Bertrand Russell’s slight on Rousseau as having the “tastes of a tramp”. We will also wag a wit at what the modern Hipster owes to William Gilpin’s mallet!

Join us as we dare to poke a tickle stick at the lawless egos of the sublime … !

 


 

Leader: Karis Petty
Workshop/Walk
Limit: 16 BOOK HERE
Title: A world within reach: a sensorial anthropology of unseen landscapes and the experience of impaired vision (walk)

This workshop comprises an indoor introduction followed by a series of walking experiments/experiences outside, and ending in a discussion.

What is the landscape when it is not seen? How does the upward curve of the hill feel? Can you hear the flight of the crow? Does the damp musk of the woodland envelop you? Drawing on my work as a sensorial anthropologist and my ethnographic fieldwork investigating the perception of the natural environment for people who have impaired vision, we embark on a series of outdoor activities that opportune reflection on these kinds of questions. The activities are tri-part: participants are invited to experience the environment through sensations other than seeing in the experience of being guided (with their eyes closed) by a sighted guide; will learn how to look at the environment in the practice of sighted guiding; conclusively reflect on these experiences through both linguistic and visual representations. These activities are embedded in presentation of my ethnographic fieldwork, in which my primary method was to walk with people who have impaired vision, as their sighted guide, over two years (2012-2014). During this time I became their apprentice in particular activities of perception, including ways of listening, feeling and specific identifications the environment. The tri-part activities serve to opportune a reference point of phenomenological experience for the participants relevant to the presentation of my ethnography that follows. My presentation explores my research participants ideas of how “the world is out of reach” in the experience of impaired vision. Through ethnographic examples we explore the experiences giving rise to this assertion, but also ways in which we are always in-touch with the world.

 


 

Leader: Camilla Nelson
Workshop
Limit: 10 BOOK HERE
Title: Making Language with Trees

Description:  Making Language with Trees offers a series of embodied and perceptually attentive interactions with a tree in order to discover how it is that marks, movements and sounds are made by and with a tree. Each participant will be encouraged to engage their full body and all of their senses in this exploration and to use these findings to devise a short language performance to share with the group (as you wish). The aim of the workshop is to use this creative exploration as a practical stimulus for discussion of what it might mean to make a language that emerges between organisms rather than viewing human language as something that emerges in isolation.

 


 

Leader: Jonathan Skinner
Workshop
Limit: 14 BOOK HERE
Title:  Intermittent Listening: A Soundscape Workshop, Listening Walk, and Collaborative Performance

Description:  A writing workshop in two parts.
1: a simple listening walk from 5-6:30am on Thursday with a short writing and sharing session to follow.
2: 2:30pm workshop which would involve discussion of texts and listening and writing prompts.

skinnerThe listening walk will be held on the Sharpham House grounds not long after sunrise to make the most of the dawn chorus, and the workshop will be held at Sharpham in the afternoon.

Participants are not required to attend both parts, although the parts are complimentary so that participating in both parts will extend and expand (rather than merely repeat) the experience.

“There is no such thing as silence, only listening is intermittent,” Henry David Thoreau once commented, writing about the acoustic environment of Walden Pond and its seasonal changes. Landscape architects have framed, edited, sequenced and texturized open spaces (however constructed) to create the ‘pleasing prospects’ that informed, and were informed by, a sensibility of the beautiful, the picturesque and the sublime. In doing so, they engaged the intermittent nature of seeing, working with seasonal and diurnal phenomena such as light, temperature, weather, and hydrology, along with the phenological events of the plant world and the spectacle of animal life. Yet music was the medium that landscape architect Frederick Law Olmsted most often compared his park designs to, as experiences of space in time. With the development of acoustic ecology and appreciation of the soundscape, brought on by the growing din of the internal combustion engine and the acousmatic attention of new recording technologies—able to manipulate “pieces of time torn from the cosmos” (Pierre Schaeffer)—naturalists, composers, visual artists, film-makers, architects and poets have been compelled to make listening their medium. In works that frame, edit, sequence and texturize the soundscape, that “vast musical composition which is unfolding around us ceaselessly” (R. Murray Schafer), contemporary arts reach toward, and sometimes challenge, acoustic equivalencies of the picturesque and the sublime. In addition to the symphony of insect, amphibian and avian vocalizations, many more subtle properties of the environment emerge through deep listening. This workshop, with its associated listening walks, offers a brief introduction to the art, music and poetry of the soundscape; to listening and writing exercises designed to productively engage hearing with language; and to the soundscapes of Sharpham House, with its myriad nonhuman sonic prospects, including an opportunity for participants to produce and perform works of their own in the soundscape. The workshop will be held either at Sharpham or at Dartington on the first day of the symposium and the listening walks (from one to three) held on the Sharpham House grounds at or near sunset or sunrise, to make the most of the dawn and evening choruses. The walks will include writing exercises, and, depending on interest, instruction in basic field recording. Ambient and impromptu performances emerging from these walks may be staged throughout the symposium.

Listen to Jonathan’s soundcloud page

 

 


Special overnight event at Sharpham House (limited to 20 participants)

see below

Events

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Beatrice Jarvis

The Barrel House, Totnes

Tuesday June 28

An optional extra for those from afar arriving early, or for local people who are already here. An evening of readings curated by Mark Leahy and Camilla Nelson and featuring poets and writers who are attending the Symposium (many are also presenting). These include Carol Watts and Elizabeth-Jane Burnett, with others still TBC. There will also be a music set from a local sound artist/performer. No advance booking, just come!

Start time: 8pm (doors open 7.30)

Tickets: £2.50 at the door

Directions to the Barrel House

 


 

Dawn / early morning events

Thursday, June 30

There will be a dawn chorus gathering at around 5am. Details TBC. If you’re interested in participating in this please email us.

If there is sufficient interest, we will also offer an early morning outdoor (indoors, weather depending) yoga session. Please let us know if you’re interested (coming soon).

 


Late-night workshop at Sharpham House

Wednesday, June 29

Artist: The Coastal Reading Group
Late night workshop
When: Evening of Day 1, Sharpham. 22.00 – 07.00 (or 22.00 – 01.00)
Limit: 20 Booking is essential BOOK HERE

We Weave and Heft by the River 

“If we do not grieve what we miss, we are not praising what we love. We are not praising the life we have been given in order to love. If we do not praise whom we miss, we are ourselves in some way dead. So grief and praise make us alive.” 

Martin Prechtel, The Smell of Rain on Dust: Grief and Praise

“The angel would like to stay, awaken the dead, and make whole what has been smashed.  But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them.  The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.”

Walter Benjamin, Theses on the Philosophy of History

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Project Description

We Weave and Heft by the River is an all night communal event that explores the role of grief in our time. Massive environmental shifts are usually described to us in terms of data or through curated images, such as a polar bear on a piece of ice (Todd, An Indigenous Feminist’s Take On The Ontological Turn, 6). As a temporary community of resilience against the numbing accumulation of quantified extinction, we court the mystery of grief that abides and sometimes eludes us in the realms of the sublime. In so doing, we radically re-orient our temporalities, communing with what has been, and praising its capacity to leave us heartbroken in its wake.

In this act of collective grieving we frame it not as a despaired accounting of all that is wrong with the world, but rather as an understanding of grief as the act of praising that which has slipped from view; of grief as an ethical responsibility for communities; as a skill for engaging a broad spectrum of life – including its end; and as a crucial act of political resistance to narratives of progress. We suggest that a ‘great-forgetting’ of the skill of communal-grief is fundamental to the late capitalist obsession with exponential growth and accumulation and its techno-epistemologies that inhibit reckoning with a landscape beyond-the-human-scale of concern and knowing.

From dusk until dawn’s light, by the light and warmth of a bonfire, we gather to weave stories, songs, and memories of our eco-relations against the backdrop of cataclysmic unraveling that defines our age. Activities throughout the night include: working with natural materials such as yarn, seeds and clay, story-sharing, contemplation, and active listening. By dawn, we will have a meaningful, co-created object to offer the landscape. Participants have the option to attend all or only the first part of the event.

  1. Zoey Todd, “An Indigenous Feminist’s Take On The Ontological Turn: ‘Ontology’ Is Just Another Word For Colonialism,” Journal of Historical Sociology Vol. 29 No. 1 (2016): 6, accessed April 20, 2016. DOI: 10.1111/johs.12124

 

Project Details

We Weave and Heft by the River will be held around a bonfire next to Sharpham house. The event will run from 10:00pm to 7:00 am, and will be divided into three segments. Part One runs from 10:00pm to 1am and will include introductions, intention-setting, storytelling and a guided collective weaving activity. Part Two, from 1:00am to 4:00am, will provide the opportunity for participants to break for sleep, for active listening by the fire, or a walk to the river in small groups. Part Three, from 4:00 am until sunrise, will continue the work of grieving, weaving and threading seed balls, concluding with the offering of the collective weave to the earth. At the conclusion of the event, a simple breakfast will be provided.

Logistics

If you are interested in participating, it is crucial that you email us here before June 1st so that we can get in touch with you. We will then send you a brief questionnaire and a more detailed description of how the event will unfold.

The sequence for the night will be carefully crafted so that we can ease into the activities through caring and trusting minigroups while still engaging the group at large and the environment in which we will be immersed.

Commitment to the event can take two possible iterations:

  1. You may choose to participate from 10pm until 1am, at which time we will be entering into a silent phase of the evening and you may take this opportunity to leave for the night.
  2. For those planning on spending the entire night with us from 10pm until 7am: There is a shelter that holds at least 20 people at the site of our event, which include toilet facilities. We will keep the fire going through the night for extra warmth and light. From 1am until 4am you may catch some sleep in or near the shelter, or stay awake to silently continue with the process, which may include a visit to the river’s edge. The moon will be just under half-full. After dawn and the conclusion of the event, a simple breakfast will be provided.

 

About the Coastal Reading Group

The Coastal Reading Group hosts three readers from three coasts who trouble the subjects of wilderness, speciation, humanness and ways of knowing through diverse engagements with (non)humans.

Bibi Calderaro is an interdisciplinary conceptual artist and researcher whose work has been shown internationally since 1995 and most recently at PS1 MoMA and MinusSpace, NY. Curious about intersubjectivity (including the non-human as subject) and the possibilities of communication and change, she employs a range of media and performative actions with a focus on walking. Recent projects include collaborative walks in New York City and Argentina http://www.ciacentro.org/node/1676; the curatorial project Notations, the Cage Effect Today with J.Pissarro, M.Yun and J.Grinblatt at the Hunter College Galleries, NY; What Mushroom? What Leave? in collaboration with Grinblatt and Light-on-Air Projects, among others.

Bibi holds an MFA and is currently pursuing research at CUNY Graduate Center, NY. She also holds a certificate as Nature and Forest Therapy guide with which she has been leading groups for the purposes of nurturing and expanding different channels of communing with the more-than-human.

Christos Galanis is an artist, researcher, and teacher who enjoys migration – facilitated by Greek and Canadian passports. He is a PhD candidate in Human Geography at the University of Edinburgh, Scotland, where he is pursuing research on Scottish Hillwalking Culture. He has facilitated several grief-related events in the past, and is a current student of Stephen Jenkinson’s Orphan Wisdom School in Ontario, Canada.

He holds an MFA in Art & Ecology from the University of New Mexico (Albuquerque, USA)  and a BFA in music from Concordia University (Montreal, Canada). Christos has taught workshops and created walking-related performances and works in Mexico, Puerto Rico, France, Spain, Italy, Portugal, Canada, U.S., and Greece, including long walks over the course of several hundred kilometers.

Margaretha Haughwout is a senior lecturer at California College of the Arts, a certified Western Herbalist and a member of the Guerrilla Grafters art group. She holds an MFA from the University of California Santa Cruz. Her personal and collaborative artwork explores the intersections between technology and wilderness in the interest of multispecies mutuality and care. Margaretha practices cultivation of biological systems that reach beyond scarcity models that come with sedentary agriculture and deny a cybernetic view of control, considers ways of knowing and communicating with the non human, and the influence of 20th-c information theory on these approaches. Her work manifests as art, medicine and thought. She has attended trainings in collective process and Non-Violent Communication with Kevin Bayuk, Starhawk, and Lynda Smith Cowan.

BOOK HERE


Soil Tasting Bar at Sharpham House

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Charlotte Rathbone’s Soil Tasting Bar

Landscape Architect Charlotte Rathbone (Rathbone Partnership) will set up her Soil Tasting Bar at Sharpham House. Booking is not required – this is a drop-in event.

 

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