RECEIVE GARDENING EQUIPMENT BOOST
Cardinal Heenan Catholic High School for Boys have received a
welcome donation from the construction workers building their new
school in Liverpool.
Morgan Sindall, which is currently replacing high school buildings
and sixth form facilities at Cardinal Heenan and Broughton Hall High
School for Girls, both in West Derby, donated gardening equipment as
well as hard hats and clothing to help students working on their
allotment. “We are delighted to be able to help students at
Cardinal Heenan with their allotment project through this donation.
We presented the school with a host of equipment including spades,
forks and hammers. As a local company, we pride ourselves on
supporting our neighbouring communities while creating first-class
environments for people to work and live in. We are thrilled to see
young people taking an active interest in outdoor learning.”
said Peter Durkin, Morgan Sindall senior project manager.
Morgan Sindall, which
has offices at Enterprise Way, Liverpool, is building new teaching
blocks as part of Liverpool City Council’s Wave Two Building Schools
for the Future scheme. In addition, the project team is creating a
shared sixth form facility, which forms a bridge between the new
schools, linking up the entire education complex. The project is due
to be completed in September 2012.
should be more investment to support ageing dancers
Senior Lecturer in Performance and who is also a freelance arts
practitioner, has been investigating the debate on ageing bodies and
mature dancers. “The ageing dancer appears unwelcome, perhaps
akin to the dancers’ menopause: reluctantly undergoing physical and
psychological changes where the aches and pains of the parents’
generation now increasingly belong to me. The dancer practitioner,
nearing 40, is considered geriatric. My mind repeats the same
cutting question? If a ballet dancer would hang up their pointe
shoes, at what point does the contemporary dancer wash their feet
clean after a final performance? With the current climate of dance
culture and TV dance phenomena we only need to take a look at
programmes like Strictly Come Dancing to realise the full extent of
the promotion of a more youthful dancing body causing much debate on
dance, dancer and the relationship this has upon the ageing body.
The current wave of TV dance may be the ‘in flava’ of journeys into
dance and be the democratisation of dance – anyone can do it if they
sweat enough - but it doesn’t eradicate the hierarchy or ageism of
dance form, it rearranges it: because not all forms are valued."
Mark’s latest article More Hip Op than Hip Hop: temporality of the
dancing body, published in Animated Dance Journal: Winter 2011
examines and questions the shift from performance into dance
creation as the performer gets older and the prejudices that
surround this process. He also takes a look at embodied knowledge
and the appreciation of the mature mover.
“The paper focuses on the cumulative impact of ageing values and
practices as experienced across the trajectories of my life-process,
paying particular attention to dimensions of lived experience,
physical and emotional pain and migrating self as well as subverting
notions which discriminate against the ageing body, and highlights
and celebrates instead work which evolves with the ageing performer
through somatic practice, valuing the lived process and the body as
a phenomenological breathing CV. The subjective nature of my
investigations generates reflective research which is less
scientific, and which exposes and explores, rather than sanitises,
issues like emotion, friendship, pain, biography, embodiment and
sensitivity. As an older artist, I can readily engage with and draw
upon a range of knowledge with lived experiences. It comes as a
result of change, migration and most importantly constant movements.
Our bodies evolve, develop, and change and it is this richness that
is brought to the studio and should be openly celebrated. Mature
dancers shouldn’t be discarded because of their ageing bodies and
I’m glad to see that this issue is being addressed in the wider
dance community, which appears at last to be moving on considerably
in its appreciation of the mature mover and embodied arts practice.”
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