Carnival of the Animals at Shire Oak Primary School

Poetry assembly at Shire Oak Primary School, Thursday 6^th December 2018

The audience came in  – a score of parents, some grandparents, some small siblings – taking their seats for the performance by Mr Martin's year 3 of the poetry they had carefully crafted over the past three sessions. The theme this time was Animals, and the audience – which included classes 1, 2 4 and 5 - was given the challenge to guess which animal was being described.  We learned what they liked, where they lived, what they felt or did.  A good stretch of the imagination for anyone and inspiring for the classes that we hope will be able to follow on this work in future years.

Some youngsters read their whole poem, some just their favourite line. And although a couple of the children had been in tears of fright in the final rehearsal they still rose to the occasion and delivered their own work with confidence and brio.  This opportunity is about far more than just writing their own poetry, it is about developing the panache to deliver it to a large audience of peers and other school staff filling the school hall.  At eight years old, not bad!  The work is inclusive too, with children of widely differing abilities able to contribute and grow.

As Ian Martin, class teacher, said “This work gives my class the focus, motivation and the opportunity to make them believe they can write, and do, things that people want to listen to. It's great that they get to perform in front of their parents and others too.”

The assembly is the culmination of the work they develop through drafting and editing with James Nash, the professional writer and poet whose work with this school over the years always creates a sense of anticipation.  He was described by headteacher Jane Devane as 'a long-term friend of the school', adding that “Working with a real poet helps our children to see writing as exciting and something they can do. Marvellous.”

We visited a huge range of environments – the deep blue sea, the jungle, the wild, the zoo, the desert, the forest.  We had a wide variety of creatures too.  The blue-tongued skink and the pangolin were rather exotic, but we had plenty of others – kangaroo, otter, brown bear, rhino, shark, a wonky starfish  and a cheetah for starters.  We had a twitchy nose, a dream of eating fish, sleek fur, shiny green eyes, sharp teeth and a talent for remaining hidden.

Some of the individual imaginative lines from the children:

I can see grass waves

I look like a rock with a horn

No one can see my face - I am a star fish

I am the colour of a chestnut

Slimy fish wet fish

I'm a fast climber

I can camouflage

I want to fly but I'm scared of heights

I am the colour of rocks

Sharp claws to rip my prey

… and their opinions too

Working with a real poet was great.

It was fun!!

I learned how to write a poem

I have seen how important it is to edit and redraft my work to improve it

I loved being able to show others in the school what I can do

I will remember that this project was ACE!

Once again, thanks are due to the Inner North West area management committee for supporting this work. 

Trumpet Voluntary

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Poetry Assembly at Ireland Wood Primary School

Thursday 29 November 2018

The wind blew most of the audience in – from a wild and blustery day to a calm and purposeful assembly.  The strains of Glen Miller's 'In the Mood' welcomed us as two classes from year 6 filed in respectfully quiet and ready to perform to the two year 4 classes, a couple of dozen parents and ten school staff.   An ensemble recitation of 'In Flanders Fields' by John McCrae set the scene.

The theme was the Great War, and James Nash – the professional writer and poet commissioned by Headingley LitFest to work with the children – had taken in a battered trumpet as a stimulus to the imagination of the youngsters.?  What had it seen?  Where had it been?  What had caused the dints and cracks to its once-shiny surface? 

Many of the sixty youngsters stood up as an audiotape played some first draft lines that conveyed their 'gut reaction' ideas.  They followed on with others standing up as their more polished work, carefully redrafted and edited in the workshops that James co-ordinated was also played. This meant everyone  in the room could hear the perception, the emotion and the careful crafting that had gone into all their works.  And they stood like soldiers, quite moving and their idea just before the performance began.

A few students also were confident enough to read out sections of their work using the microphone.  Interspersed with explanations from both James and Adrienne Amos, the year 6 teacher who had co-ordinated the work.  Which was extensive – preparation, development of the ideas between the workshop sessions and a magnificent display of each of sixty poems taking up one whole wall in the hall.

What had the young people learned about writing poetry from all this?

“That it doesn't have to rhyme.”

“Don't have to do it all at once; look at it with fresh eyes.”

“It can be about anything your imagination extends to.”

“Doesn't have to make sense at first; you work to make it mean more as you go.”

“Making poetry together is fun.”

What had the teachers learned from the work and enthusiasm shown by the children?

“That their vocabulary improves astonishingly.  Who thought they would use words liked humbled, bereft or smothered so eloquently in their work?  Such a brilliant opportunity to extend their vocabulary, nowadays such an important skill.”  Mrs Amos

“That working with a 'proper poet' had produced an incredible standard of  teamwork, polished performance and confidence across the whole group.”  Mrs Green, deputy headteacher.

“That the children always comment in the end-of-year review that the poetry workshops and their pride in what they achieve is a highlight of their year.”  Mr Blackburn, Headteacher.

And some last lines from the children

If you play me you will hear my pain.

My mouthpiece tastes like blood.

This trumpet gives me courage.

Crushed by a tottering warhorse.

Dark, scratched and isolated.

It has a story, like you and me.

Its owner loved it like a mum

As he played his song, he tasted a bit of home.

It is a dented and broken body, left abandoned ...

… and I was reminded of the recent news story that the German bugle war poet Wilfred Owen

had found on the battlefield in 1917 and kept with him until his death just a week before the end of the war was played for the first time in public over his grave in France just three weeks ago. He too had loved the poignancy that a lone instrument inspires.

Thanks to the Inner North West community Committee, especially local councillors from the Weetwood area, who support this work.

'Merry Melancholy' at Leeds Library

Conrad Beck writes:

Jenny Hill and Simon Nisbett
         Photo: Richard Wilcocks         

A performance of A Rehearsal of the Life and Death of Robert Devereux, Second Earl of Essex by Merry Melancholy (Jenny Hill and Simon Nisbett) took place in the performance space of Leeds Library last Thursday (27 September) in front of a substantial, very appreciative audience. It was a rare treat, more a recital than a play.  

Jenny Hill was in role as 'Susannah' and Simon Nisbett as 'Richard' who are rehearsing and planning for a book launch - in 1624. The book in question is Honour in his Perfection by Gervase Markam, which is dedicated to the live of Robert Devereux, who was, it turns out, not very perfect. Arcane? Entertaining? Relevant to today? Yes to all of those. Mainly entertaining.

Shaped, most appropriately on this occasion, like a teardrop, the lute was the popular instrument of choice in the Renaissance period, closely related to the oud played then and now in the Arab world and probably an import in medieval times from Spain. It was valued for its gentle, meditative sound and has been increasingly popular in the last few decades.

Devereux knew one of its most famous users - the great singer, composer and lutenist John Dowland, who died in 1626, a couple of years after Markam's book was published. His music was everywhere, and he was one of the many artists (like playwright Christopher Marlowe) who dabbled in espionage on his jaunts to perform in countries like France and Denmark, under the control of Elizabeth's spymaster Sir Robert Cecil. There were rumours that he was a secret Catholic.

In conversations between Susannah and Richard, the details of Devereux's life were relayed to the audience. His relationship with Elizabeth was crucial. A reckless and attention-seeking man who was loved by the London masses, it seems, he was really worried that she was a mere woman, and like other courtiers, tried to install himself as her lover and possible replacement. It worked up to a point.

On one occasion, presumably because of a tiff, he turned his back on her, something one never, ever does, and she boxed his ears. At this, his hand went to his sword. He actually survived, but she sent him abroad on official business. This was not as a diplomatic emissary but as a military leader. Aristocrats were assumed to be good at things like that.

He arrived in Ireland to engage with the army of the rebellious Hugh O'Neill, Earl of Tyrone. Oppression and conquest of the barbarous Irish was the order of the day, but Devereux failed miserably, and one morning, back in London, he barged unannounced into the presence of the queen, something one never, ever does. She was outraged, because he hadn't washed since the campaign and she hadn't had her wig or her make-up put on. 

He was ordered into house arrest, and his monopoly on the import of sweet wine into England was curtailed. At home, he wrote lyrics in the fashionable melancholy style and no doubt finished off the last of his stock of sweet wine with his friend John Dowland. It was not long after this that he managed to organise a doomed, quickly-crushed coup against the royal palace, ending up in the Tower of London to have his head chopped off.

All of this fascinating story (the theme of a number of films and plays) was conveyed to us exquisitely with Simon Nisbett's lute and Jenny Hill's voice. Devereux, Dowland, Fulke Greville and others were all featured. Here is the opening part of probably the most well-known one, by Dowland:

Flow my tears, fall from your springs,

Exil'd for ever let me mourn;

Where night's black bird her sad infamy sings,

There let me live forlorn

Light Perpetual: Echoes of War

This concert took place on Sunday 23 September in St Chad's Church, Headingley to commemorate the Armistice of 1918. St Peter's Singers collaborated with Trio Literati to interweave poetry from the First World War with movements from Fauré's Requiem.

C. Beck writes:
The word 'veteran', a word which can be applied to retired combatants, has other connotations, so it can be applied appropriately to the performers at this beautiful concert. They are veteran actors, readers, singers and musicians, with the word bringing long experience, polished skills and professionalism to mind. In short, they are pretty good at their job, and it showed.

Gabriel Fauré painted by John Singer Sargent 1890

The soulful and melodious Requiem by Gabriel Fauré, a shortened version of the Latin Mass completed in the late nineteenth century, is ever-popular, a standard at commemorations like this, and its final movement In Paradisum is often included in funeral services, because not only is it the most serene section of the whole thing, which conjures a vision of a world at peace, but it is actually part of the liturgy of the Catholic burial service which was added by the composer. It gives the impression that Fauré was a man of unassailable faith, but this is misleading, because apparently he was a sceptic. 'Light Perpetual' in the concert's title is from the words of the Agnus Dei movement - 'et lux perpetua luceat eis' - 'let perpetual light shine on them'.

St Peter's Singers were on excellent form, conducted by Simon Lindley, with soprano Julie Kilburn and baritone Edward Thornton as soloists. The organ (Alan Horsey) substituted for an orchestra. Richard Rastall, Jane Oakshott and Maggie Mash, who make up Trio Literati, were also on excellent form, providing the 'Echoes of War' part. This was more tormented than serene. The words of mostly well-known war poets were used to conjure sometimes horrific images of the catastrophe which was supposed to be the 'war to end all wars'. The poets were certainly not well-known until after the Armistice, with the exception of A E Housman and Rudyard Kipling, slim pocket editions of whose works were sometimes inserted into soldiers' knapsacks.

Wisely, Trio Literati presented a range of views on the war, from John McCrae's 'In Flanders fields', always heard at Remembrance services, to 'Dulce et Decorum Est' by Wilfred Owen, which was delivered particularly powerfully by Maggie Mash. One short poem was in German, with an accompanying translation - August Stramm's  'Wache' (Guard Duty) - read by Jane Oakshott with a pretty good accent. Carol Ann Duffy's 'In all my dreams' ('Last Post') was the final offering - 'if only poetry could tell it all backwards'.

Other events marking the Armistice in Leeds include Penthos Requiem by two members of St Peter's Singers - emerging composer Matthew Oglesby and award-winning poet Hannah Stone. This is at another Headingley church - St Michael's at 6pm on Saturday 27 October. Admission free.

St Peter's Singers conducted by Simon Lindley

Audience comments

Dear Jane, Richard and Maggie

I just wanted to say how much we enjoyed the Trio Literati and St Peter’s Singers concert at St Chad’s yesterday evening. It was a truly moving performance. …Thank you again for a memorable evening.

Best wishes

AB

Morning Jane, ( From AC)

Just to say how much Peter and I enjoyed last night's moving performance at St Chad's. 

Dear Maggie. That was wonderful! It was so powerful and poignant at the same time. Thank you . I really enjoyed the evening. 

(LB )

Hi Jane

You definitely caught me on the hop when you asked me if I had enjoyed it last night.  I had been very affected by the readings - almost moved to tears at times and had been amazed when people clapped.  I wanted to sneak away and just think about it, so not enjoyment, stunned or even over-awed might have been a better word.  I did not know all the poems and some I had not heard for years.  I love Faure's Requiem though.  I thought it was a beautifully thought out performance over-all.

PR

 Dear Richard, 

Thank you for inviting us [St Peters’ Singers[ to join you at St. Chad's last evening. My guests found the combination of music and readings really powerful, with the images adding an extra dimension to music they've heard so many times before. It was a special evening.

JK

Dear Jane

Thank you all for Sunday’s very moving event. Wonderful choice of poetry commemorating all those poor lads and,  as always, beautifully read.

J and J L

St Chad's Church provided an atmospheric setting for a captivating evening of music and poetry. A very entertaining and sociable evening. Thank you!   

? BD

Jane - Thank You so much! What a wonderful evening:) just beautiful, the music and poems worked so well alongside each other. The friend I brought along also loved it .  You should be very chuffed,! Mxx

MS

Jenny Hill and Simon Nisbett - Tudor Excellence!

History, Poetry, Drama and the sound of the Lute!

Merry Melancholy is at the Leeds Library in Commercial Street at 7.30 on Thursday 27 September. It's free!

Meet a pair of brilliant performers - poet Jenny Hill and lutenist Simon Nisbett 

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