text:
Butter the scones, cut the crusts off the sandwiches, and fire up the kettle: it's time for a Tea Party. Or, rather, a 'T' party, where Alice and her Wonderland-dwelling friends are transported to the modern world, and the T stands not for a drink with jam and bread, but for… Therapy.
It's not surprising that Lewis Carroll's characters are in need of intervention; Alice, constantly bombarded with messages of what she should be eating or drinking to make her bigger or smaller, is struggling with her body image. The Queen of Hearts, frequently clamouring for her subjects' heads to be cut off, could do with a little help managing her anger. And as Carroll's Cheshire Cat famously proclaims, 'We're all mad here!'
Fast-forward 152 years from the novel's publication, and there's a darker truth in this originally throwaway phrase: 1 in 4 people will struggle with a mental health issue in any given year. We may not all be 'mad', but we're certainly not all 'normal' (whatever that means) either – and it's this delicate balance that's inherent in ZooNation's colourful performance, directed by Kate Prince.
'Kate is really good at dealing with serious issues in a sensitive yet humorous way,' says ZooNation's Teneisha Bonner who is dancing the role of The Queen of Hearts. 'We know that mental illness and the struggles so many people have with it are very serious but it doesn't have to be a 'doom and gloom' thing that people have to keep in the shadows. Actually, the show sparks conversation and dialogue.
Within Mad Hatter, we're dealing with serious issues, but we're putting everything out on the table, and discussing them, but actually having a bit of a laugh too.'
'If you don't laugh, you'll cry,' interjects Rowen Hawkins, aka TweedleDee.
'It's always a sensitive thing,' he continues, 'but people who are dealing with these issues might get a sense of relief out of it, to actually laugh at the thing that's causing the most grief.'
This balance between the harrowing and the humorous is not just constructed in the dialogue; it's inherent in the very fabric of the show and its style of movement.
For those more familiar with the pliés and pas de deux of classical ballet, Cheshire Cat Andry Oporia explains the significance of krumping, a hip hop dance style used in the show:
'It looks very aggressive but it's not, it's expressive,' he says.
In fact, as Andry explains, these boundary-blurring movements are often the most powerful for the audience, especially those dealing with the issues tackled in the performance.
'They could relate with one of the characters straight away, the way that they were behaving made them understand the story,' he says of an audience member experiencing mental health difficulties who came to see the show. 'It was therapeutic for them to watch, and see their journey, but also enjoy it because they knew it was a performance: there was a slight detachment.
But also, when you're watching the show with all the colourful costumes, and everything else, you can't not be immersed in what's going on. There's something to relate to for everyone.'
It certainly seems that way: with a lively soundtrack and a razor-sharp script, it's no wonder audiences of all ages are leaving the Roundhouse grinning. But for the dancers, required to channel both complex characters and high-energy movements, it's a slightly different story:
'I remember feeling exhausted, emotionally,' Tommy Franzen, playing the role of the Psychotherapist, says. 'My character, in particular, gets stressed, and you obviously take that on. I feel just drained afterwards, not only physically but emotionally.'
Teneisha tells a similar story: 'The Queen has got anger management issues, so in rehearsals, while it's fun to be like "Arrrrrgh!", you have to have something there in order to go "Arrrrrgh!" about, you have to conjure something from deep down in order to stay at that peak for the hour and a half. By the end of the show I felt absolutely drained from being stressed and pent up all the time. For the whole show up until my number I'm holding back and suddenly I let go. That takes a certain amount of control.'
Luckily, it's this 'letting go', combined with the show's uplifting message of acceptance, that makes all the difference. Ultimately, this nightly T party is a positive journey for the dancers too.
'Dance, because it incorporates everything – spiritually, mentally, physically, emotionally – is such a great outlet for people to just let rip,' Teneisha says. 'If you have that as an outlet it can only be beneficial.'
The Mad Hatter's Tea Party runs at the Roundhouse until 22 January 2017. Tickets are still available.
The production is staged with generous philanthropic support from Mrs Lily Safra, The Paul Hamlyn Education Fund, The Lord Leonard and Lady Estelle Wolfson Foundation, The Austin and Hope Pilkington Trust and The Royal Opera House Endowment Fund.
Time To Change is an organisation which aims to end mental health discrimination. To learn more, visit their website.]]>
Young psychotherapist Ernest is having a tough time. He's just started his first job, at Ladrington Brook, the Institution for Extremely Normal Behaviour. He's very well qualified – he even has a PhD in how to be normal – but the clients in his ward aren't having any of it, and by the end of Act I of ZooNation's The Mad Hatter's Tea Party Ernest has been driven to his wits' end. But that's when the party starts.
In The Mad Hatter's Tea Party, director Kate Prince and the dancers of ZooNation Dance Company respond to Lewis Carroll's Alice's Adventures in Wonderland in a new and distinctly 21st-century way. Prince imagines what would happen if the characters were taken out of Wonderland and placed in our world. Would we accept them, or would we try and change them and make them fit in? By creating backstories for each of the characters, Prince and ZooNation's dancers explore what it means to be 'normal' – and whether that's important.
The role of Ernest was created by acclaimed street dancer Tommy Franzen, a hip-hop virtuoso. His role in the story is to represent the well-meaning establishment. We follow his character arc over the first act as he is torn between what he believes he should do, and what he growingly feels is the right thing as he gets to know the characters around him and where they've come from. He explodes at the end of the act into a phenomenal breakdancing solo, the effect of all the different tensions that have been building up within him. It's a fantastic closing set piece, but the audience knows his story isn't finished.
In Act II the Wonderland cast has transformed the dingy ward into a raucous tea party, presided over by the Mad Hatter – a role created by Isaac 'Turbo' Baptiste, a dancer of irrepressible and infectious energy. He and his comrades have come to care for Ernest, and are concerned as he now sits slumped and worn out on the sidelines of their party. How to cheer him up and get him back on his feet?
They're helped by DJ Walde and Josh Cohen's zinging upbeat score and their infectious song 'Find your groove'. After an opening ensemble to greet the audience back from the interval, the Mad Hatter turns his sights on Ernest, pulling him gently onto the dance table. After guiding him through some moves (shared in perfect synchronicity) Ernest slowly builds the strength to dance on his own – just as spectacular as his solo from the end of Act I, but now bursting with optimism and the sheer joy of dancing.
That joy runs through the core of the rest of The Mad Hatter's Tea Party. Dancers and musicians astonish us with their skills but also invite us to join in, in an inclusive and heart-warming celebration of not only the power of dance to change our mood, but of the importance of accepting ourselves – and all the things that make us who we are.
The Mad Hatter's Tea Party runs at the Roundhouse until 22 January 2017. Tickets are still available.]]>
The dancing. The music. The everything. Just how talented are @ZooNationUK ??? Absolutely brilliant show #MadHattersTeaParty @RoundhouseLDN
— Felix Harrison (@felix_harrison) January 4, 2017
Utterly smitten with @Kayla_Lioness in everything I see her in. Can't take my eyes of her #MadHattersTeaParty #WannabeDancer
— Laura Turner ✨✨ (@LKT2011) January 3, 2017
#MadHattersTeaParty @RoundhouseLDN is a gloriously alive,unapologetically dark, brilliantly funny,unexpected look at #mentalhealth. GO SEE. pic.twitter.com/uJBEhTcI4i
— Sarah Mayhew (@hewston) January 4, 2017
Brilliant show! Amazing band & great way to raise awareness of mental health issues #madhattersteaparty #roundhouse https://t.co/1LMAe5VcI8 pic.twitter.com/FmvuNDib3S — Serena Carville (@Serena_Carville) January 2, 2017
Incredible dance, music and singing at #MadHattersTeaParty at the awesome @RoundhouseLDN Really try to grab a ticket if you can.
— Faye Morgan (@fayemorgan) January 5, 2017
Think you know Alice in Wonderland? #MadHattersTeaParty @RoundhouseLDN is a feast for the senses!
— Aliya Al-Hassan (@aliyajaderosa) December 31, 2016
Wonderful seeing @Andrewbryant89 in #MadHattersTeaParty @RoundhouseLDN @ZooNationUK this eve. Such a brilliant production, well done all!
— Amy O'Neill (@amydanoneill) January 4, 2017
Huge grin on my face right through #MadHattersTeaParty by the unbelievably talented @ZooNationUK. Catch it @RoundhouseLDN
— Rich Mason (@rich_mason_) January 4, 2017
Press Reviews:
The Times ★★★★
The Independent ★★★★
Evening Standard ★★★
The Telegraph ★★★
The Mad Hatter's Tea Party runs from 30 December 2016—22 January 2017 at the Roundhouse. Tickets are still available.
The production is staged with generous philanthropic support from Mrs Lily Safra, The Paul Hamlyn Education Fund, The Lord Leonard and Lady Estelle Wolfson Foundation, The Austin and Hope Pilkington Trust and The Royal Opera House Endowment Fund.
Time To Change is an organisation which aims to end mental health discrimination. To learn more, visit their website.]]>
Following its sell-out run at the Royal Opera House in 2014, ZooNation's hip-hop theatre show The Mad Hatter's Tea Party returns to London this winter for a run at the Roundhouse.
Kate Prince's vibrant production is inspired by the characters of Lewis Carroll's Alice's Adventures in Wonderland and stars street dance star Turbo as the Mad Hatter. The dancer found fame as a finalist on Sky's 'Got to Dance' and in CBBC's 'Turbo Boost', but honed his skills dancing in music videos for artists including Madonna and Will Smith. He also appeared as a backing dancer with Whitney Houston.
With rehearsals well underway, we asked him to share the eight music videos which inspired him to dance, and influence his portrayal of one of literature's most iconic characters:
'Bad was the first music video I watched that made an impact on me,' says Turbo. 'The troupe of kids look like they are having the best time – I really wanted to be one of them!'
'Michael Jackson had everything as a dancer. He shows a great range of styles in Bad, even some ballet moves.'
Turbo cites Jackson as the biggest influence on dance in recent history. 'Everyone imitates him – but no one can really compare. He was one in a million.'
Listening to British electronic artists The Prodigy before a performance helps Turbo get into the anarchic character of the Mad Hatter.
The music video for the group's best-known hit was filmed in an underground tunnel, and Turbo was drawn to the rawness of the staging and lead singer Keith Flint's dancing.
'There's something kind of wild about it,' he notes. 'He's so carefree as a performer – listening to this song brings out the wildness of my character.'
Taking the tempo down a notch, the video for The Verve's mid-90s anthem sees lead singer Richard Ashcroft barrelling through the streets of East London, colliding with anything and anyone in his path.
For Turbo, it's Ashcroft's raw physicality and attitude which makes the video compelling:
'I remember this was one of the videos that was always on MTV Base and it's weirdly mesmerizing', says the dancer. 'I wanted to be one of those people that he was walking into just to see what my reaction would be!'
This track is a nostalgic choice for Turbo - who remembers watching the video and longing to be in the sunny theme park in America. It sticks in his mind for the no fuss, catchy choreography –'This routine is pretty simple, but it just sits on the beat just right.'
The second member of the Jacksons on his list, Turbo is a big fan of the family's youngest sibling.
'She's a strong woman I really admire and this song makes most people smile', he says.
For Turbo, 'Together Again' reflects the team spirit of Zoo Nation. The company create their choreography by sharing videos during rehearsals and attending each other's dance classes, to get an idea of each performer's individual style.
Producer J Dilla had a profound effect on Turbo: 'He saved my life in music and changed my life', says the dancer.
Dilla cut his teeth in the underground hip-hop scene in Detroit as a member of the group Slum Village. He worked with some of hip-hop's biggest names including Janet Jackson, Busta Rhymes and Q-Tip before his tragic, early death at the age of 32. The acclaimed instrumental album Donuts was his final record and was written from his hospital bed. 'He created such amazing music,' says Turbo. 'It's hard to pick one track – but his sound makes me want to move.'
'Dirty British grime reminds me of the Mad Hatter', says Turbo.
The performer is of the view that chart hip-hop at the moment is dominated by rappers that sound similar – or, 'word drainers', as he dubs them. 'What I like about 'Man Don't Care' is that the lyrics haven't been Americanized'.
'Don't get me wrong, chart hip-hop can be great to dance to, but I really like it when you can relate what you're listening to'.
Grammy award-winning rapper and producer Missy Elliott's 'Get Ur Freak On' was listed 14th on Rolling Stone magazine's list of the best songs of the decade.
The song opens with the line 'Everyone start dancing together wildly now' in Japanese, but its meaning is infectious without the translation. 'This video is evidence you don't need to painstakingly learn a routine,' says Turbo. 'The music makes anyone to dance.'
The Mad Hatter's Tea Party runs from 30 December 2016—22 January 2017 at the Roundhouse. Tickets are still available.
The production is staged with generous philanthropic support from Mrs Lily Safra, The Paul Hamlyn Education Fund, The Lord Leonard and Lady Estelle Wolfson Foundation, The Austin and Hope Pilkington Trust and The Royal Opera House Endowment Fund.]]>
The story begins…
Young psychotherapist Ernest is an expert in being 'normal' – he even has a PhD in normalization. He's just begun his first job, at the prestigious (if rather gloomy) Institute for Extremely Normal Behaviour. It's immediately clear his patients need his help: the March Hare, the Mad Hatter, Tweedledum and Tweedledee and the furious Queen of Hearts are all a long, long way from being 'normal'. But as he struggles to bring normality to his Wonderland ward, Ernest begins to ask himself: what's so great about being 'normal'?
Storytelling through dance
Kate Prince founded ZooNation Dance Company in 2002 and the company has since soared to national and international fame, acclaimed for bringing hip-hop dance to new audiences. A watershed moment came in 2006 with the company's first full-length narrative work, Into the Hoods – which went on to become the longest-running dance show in West End history. The Mad Hatter's Tea Party is ZooNation's fourth narrative work, and was commissioned by The Royal Ballet in 2014 to complement performances of Christopher Wheeldon's Alice's Adventures in Wonderland – uniting what might seem the disparate art forms of ballet and hip-hop under one tradition of excellent storytelling through dance. After that sell-out run, ZooNation now reimagines their show for the Roundhouse.
Backstories from Wonderland
ZooNation works are immense collaborative processes, with the Mad Hatter creative team including not only musicians DJ Walde and Josh Cohen, designer Ben Stones and lighting designer Andy Murrell, but the entire company, with every dancer playing an instrumental role in the choreography and expression of their character. But the whole is guided by Kate Prince's vision, and it's she who shapes these individual creative outputs to craft the engaging, moving and often hilarious stories for which ZooNation is so famed. Her starting point with The Mad Hatter's Tea Party was to re-read Lewis Carroll's books, encountering again Carroll's large cast of decidedly odd characters. Prince found herself wondering: who are these people, and how did they get to be the way they are? Out of this seed has grown an inspired, character-driven take on these iconic tales, nurtured by the full force of the ZooNation Dance Company.
Dance that evolves
The Mad Hatter's Tea Party has changed on its reincarnation at the Roundhouse. The venue's distinctive cylindrical space has entailed a transformation to the show as a whole, to make the most of this immersive setting. DJ Walde and Cohen have written five new songs, with lyrics written in conjunction with Prince. The new songs both add to the wonderfully eclectic soundtrack – which ingeniously incorporates funk, pop, reggae, blues, gospel and much more besides – and create new opportunities to explore the characters further, particularly the Mad Hatter and the March Hare. And of the original cast, three dancers are returning – Tommy Franzén as Ernest, Turbo as the Mad Hatter and Teneisha Bonner as the Queen of Hearts – but the other performers are new to the piece, and each brings their own individuality to Prince's characters.
Supporting the next generation
ZooNation has a dual goal: to bring hip-hop dance to new audiences, and to train the next generation of hip-hop dancers. These missions are two sides of the same coin, and come gratifyingly together in the Roundhouse revival of The Mad Hatter's Tea Party. One dancer, Jaih Betote, first encountered ZooNation at the age of 12. He joined the ZooNation Academy of Dance and graduated into the ZooNation Youth Company, and now makes his debut with the adult company. Another dancer, Michael Ureta, has a similar story, and cites an eye-opening visit to see Into the Hoods as a key inspiration to becoming a professional dancer. These sorts of stories make the Roundhouse even more ideal as a venue, with its equal commitment to showcasing the best of the moment and nurturing the artists of the future. As Prince says, 'Our younger dancers, who've been inspired to get into dance by watching ZooNation, are such good examples – not just of the power of music and dance to inspire, but, in the context of this show particularly, how healing those art forms can be'.
The Mad Hatter's Tea Party runs 30 December 2016–22 January 2017 at the Roundhouse. Tickets are still available.]]>
A Long Time Coming
Dancers Wendy Whelan and Edward Watson say that they first came up with the idea of collaborating together around ten years ago, when they were both dancing with Christopher Wheeldon's company Morphoses/The Wheeldon Company. It has taken until now for these two internationally acclaimed dancers to be in the same country at the same time long enough for the project to come to fruition. After its premiere in the Linbury Studio Theatre, Whelan and Watson will perform Other Stories on tour, at venues including New York City Center, where Whelan is Artistic Associate.
Portrait of the Artists
Whelan is one of the most iconic American ballerinas of her generation. She has spent most of her career with New York City Ballet, where she danced as a principal from 1991 to her retirement in 2014. Since leaving NYCB she has developed innovative collaborative projects, of which Other Stories is the second, after 2013's Restless Creature. Watson has been a Principal of The Royal Ballet since 2005. He is highly acclaimed both for his interpretations of the Company's core repertory, particularly in works by Kenneth MacMillan, and for his role creations for choreographers as diverse as Wayne McGregor and Wheeldon. He was appointed an MBE in 2015.
New Directions
Though Whelan and Watson come from very different ballet traditions, they share a remarkable ability to inhabit a range of styles – both classical and neo-classical in ballet, and, more recently, contemporary dance. For Other Stories they have refused to rest on their laurels. 'We wanted to think about what else we could be… We didn't want to do a vanity project, showing off what we already knew we could do. We wanted to use our experience to try something new.' To that end they have invited five choreographers to create new works.
Three of the choreographers worked with both the dancers. Javier De Frutos creates First and Wait, a work that 'very much reflects the spirit of its creation – almost a video diary of the moments we shared in the studio'. In Dance Me to the End of Love, Danièle Desnoyers explores the joint virtuosity of her two dancers, creating a dialogue between the dancers and the onstage musicians. Closing the programme is Arthur Pita's The Ballad of Mack and Ginny, a tango taking its inspiration from Brecht and Weill's provocative Threepenny Opera.
… and Apart
Other Stories includes a solo work for each of the dancers. Arlene Phillips creates Dance Me to the End of Love on Watson: 'A once famous dancer enters an empty ballroom that echoes with memories of the woman he loved. He relives the relationship that destroyed him.' Annie-B Parson uses Whelan's virtuoso abilities to the full in the abstract Short Ride Out, a work of complex rhythms and different structures that focusses on 'what Balanchine called "the fact of dancing"'.
This year, Northern Ballet celebrates its 45th anniversary. The company, founded by Canadian-born Laverne Meyer in 1969, began with just 11 dancers performing small-scale works. Now a company of 48 dancers on the road for up to 32 weeks of the year, it is the busiest touring ballet company in the UK.
Directed for 12 years by former Royal Ballet Principal Christopher Gable (who focused as much on theatre as he did on ballet), the company has built up a first-class repertory in theatrical narratives, and is known for its story-telling prowess – reflected in the commissioning of works including The Great Gatsby, Peter Pan and Wuthering Heights. Since 2001, Canadian-born David Nixon has been at the helm as Artistic Director, adding a diverse range of inventive work to the repertory and overseeing a move to new studios in Leeds, the largest purpose-built space for dance outside of London.
This Season, the company brings two works to the Royal Opera House's Linbury Studio Theatre: Daniel de Andrade's Elves and the Shoemaker – the most recent piece in the company's series 'Short Ballets for Small People' – and a diverse mixed programme featuring work by Jonathan Watkins, Christopher Hampson, Kenneth Tindall and Demis Volpi, including music ranging from Bach to Elvis Presley.
Ahead of their arrival in Covent Garden, we caught up with David Nixon:
You have now been Artistic Director of Northern Ballet for 14 years. How has the company changed in this time and what are your ambitions for it in the future?
Over the past 14 years, we've worked on increasing the technical and expressive aspects of the dance alongside the theatricality instilled by Christopher Gable. Since moving to our new facility, the company has grown in all areas, and we've widened our repertory and choreographic aspirations. Now, our ambitions are to find new choreographic voices that evolve the company's identity, and to reach beyond the boundaries of the UK taking dance to as many people as possible.
On 16 May, Elves and the Shoemaker opens in the Linbury Studio Theatre. Why do you create work aimed at children and why is that important?
Our work for children is a unique way for us to engage very young audiences, as well as providing a creative platform for young choreographic talent. We approach the ballet with the audience in mind, keeping the productions short and imaginative, with a sense of something magical, to ensure that children have a fantastic experience. This allows both parents and children to share in the arts at a very early stage – and they leave with some cherished memories!
Filippo Di Vilio and Kiara Flavin in Daniel de Andrade's Elves the Shoemaker© Northern Ballet. Brian Slater, 2015
Filippo Di Vilio and Kiara Flavin in Daniel de Andrade's Elves and the Shoemaker© Northern Ballet. Brian Slater, 2015
Filippo Di Vilio and Kiara Flavin in Northern Ballet's Elves & the Shoemaker © Northern Ballet. Brian Slater, 2015
Filippo Di Vilio and Kiara Flavin in Daniel de Andrade's Elves the Shoemaker© Northern Ballet. Brian Slater, 2015
Sebastian Loe and Olivia Holland in Northern Ballet's Elves and the Shoemaker © Northern Ballet. Brian Slater, 2015
Sean Bates, Luisa Rocco and Sebastian Loe in Northern Ballet'sElves the Shoemaker © Northern Ballet. Brian Slater, 2015
Olivia Holland, Sebastian Loe, Kiara Flavin, Filippo Di Vilio, Sean Bates and Luisa Rocco in Daniel de Andrade's Elves the Shoemaker© Northern Ballet. Brian Slater, 2015
Why do you think it is important to nurture young choreographers?
Dance lives in the present and responds to the times, and it is new work that shapes our artists and asks them to evolve. We can never underestimate the effect of any choreographer on the next generation – what might not be perceived as great at the time, sets the course for work that is.
Similarly, while we respect our heritage, our audiences ask us to bring something new and fresh to the stage.
What do you like about the work of Kenneth Tindall? What do you expect from his new piece, The Architect, in the Linbury Studio Theatre?
Kenneth is a real creative talent. I love the language of his work and the way he embodies the contemporary world while retaining an emotional context. He takes the work he has danced over his career and builds upon this with his unique voice. He moves our dancers in a very different and exciting way that thrills the onlookers.
Jonathan Watkins danced with The Royal Ballet so it's interesting to see him come back in a different capacity with A Northern Trilogy. Is this the first work he's making on the company and have you got future plans?
Last year I had the privilege to see Jonathan Watkins' Kes at the Crucible in Sheffield, and I was struck by his imagination and clarity of storytelling. I saw real potential, and thought he'd be very compatible with the company. He created his first work on Northern ballet for our 45th anniversary gala – the fresh and delightful A Northern Trilogy, which is part of this mixed programme. It's a wonderfully light work that captures beautifully the spirit and humour of the North. He is also creating a full-length work for the company – 1984, based on George Orwell's iconic novel – which opens this autumn.
What does it mean to you to be coming to the Royal Opera House?
Coming to the Linbury Studio Theatre is a real privilege for us. It gives us a chance to present a different face of the company – performing work by other creative talent and demonstrating the diverse strengths of our dancers. It also enables us to expand our presence in London. By exploring new partnerships, Kevin O'Hare is opening up what has, in the past, been perceived to be a closed world, and we are thrilled to be a part of this process.
Giuliano Contadini and Dreda Blow in Kenneth Tindall's The Architect © Northern Ballet.Emma Kauldhar
Joeseph Taylor, Kevin Poeung, Giuliano Contadini and Nicola Gervasi in Kenneth Tindall's The Architect © Northern Ballet.Emma Kauldhar
Little Monsters / The Architect / Perpetuum Mobile / A Northern Trilogy / Angels in the Architecture runs from 12-14 May 2015. Tickets are still available.
The Elves and the Shoemaker will be performed on 16 May 2015. Tickets are sold out, but returns may become available.]]>
'I am delighted to be welcoming Centre Chorégraphique National - Ballet de Lorraine to perform in the Linbury Studio Theatre for the very first time this March', says Royal Ballet Director Kevin O'Hare on the company's forthcoming Shaker Loops / Cover mixed programme.
'Ballet de Lorraine have very dynamic dancers and a varied repertory, and I'm sure they will bring a real energy and excitement to the Linbury'.
Ballet de Lorraine was founded in 1968. In 1999, it became a National Choreographic Centre (one of 19 formed in France in 1984), and has since focused on choreographic creation, experimenting with provocative, contemporary dance. Swedish dancer and choreographer Petter Jacobsson became Director of Ballet de Lorraine in July 2011.
'I've known Petter for many years', says Kevin. 'We both danced with the Sadler's Wells Royal Ballet from 1984. He was a very fine classical dancer and has led a huge, varied career.'
Petter studied at the Royal Swedish Ballet School and the Vaganova Academy in St. Petersburg, before performing as a principal with Sadler's Wells Royal Ballet for 11 years – where he met Kevin. In 1993, he moved to New York, developing his choreographic talents by working with dancers including Twyla Tharp, Merce Cunningham, Irene Hultman and Deborah Hay. He became the Artistic Director of The Royal Ballet of Sweden from 1999 to 2002.
'As Director of The Royal Ballet of Sweden, Petter really pushed the boundaries', says Kevin. 'Now, he continues to do so at Ballet de Lorraine, placing the company at the forefront of dance in France.']]>
A Venn diagram is a useful thing. While it would take half a page of print to explain the – until now – tenuous connection between the dancers Wendy Whelan and Edward Watson (she American, he British), in diagrammatic form it's the work of a moment. Draw a circle and mark it 'New York City Ballet'. Draw another labelled 'The Royal Ballet'. In the lozenge where they intersect, write 'Christopher Wheeldon'.
The two star dancers have followed distinctly different paths, on opposite sides of the Atlantic, and only once, briefly, have their trajectories crossed in a joint performance, and that was a decade ago. But they have a common denominator in the choreographer they both know as Chris, for whom each of these dancers has been a major inspiration. Edward, as many readers will know, was Wheeldon's first casting choice for jealous king Leontes in his adaptation of The Winter's Tale. He was also the model for his White Rabbit in Alice's Adventures in Wonderland, to mention only the most recent roles. For her part, Wendy retired from New York City Ballet last year after 30 years with the company, the latter half of which saw her feature in almost every piece of work Wheeldon set his hand to in New York. So when someone said 'you two should do something together', neither dancer had to think twice about it. For not only did they share a history as Wheeldon muses, but each also wanted something of what the other appeared to offer.
Edward says he has always admired Wendy, 'not just for how she looks on stage, but for her quietly focused approach to everything. It might be to do with being American, but she has that quality more than most and that's how I want to be' Wendy, meanwhile, is ready for a new direction, post-City Ballet. 'If I see an open window with something interesting on the other side, metaphorically, I'm going to grab it,' she says. 'Ed has done a load of dramatic roles and I haven't, but I have a desire to do that. Somebody once told me "If you want something, find someone who has it and hang around them". I like to think if I spend enough quality time with Ed, it'll open that part of me up.'
The spur to their coming together was Edward's trip to New York with The Metamorphosis, Arthur Pita's dance-theatre adaptation of the Kafka story in which Edward plays the travelling salesman who wakes up one morning to find himself transformed into a giant insect. Wendy went along to see the show, loved it and afterwards Ed introduced her to the choreographer. 'They got on really well so I said "Why don't we ask Arthur to be the first person to make something for our show?"'
The three met again last August around the time of Wendy's visit to the Linbury Studio Theatre with her touring programme Restless Creature. This time the meeting with Arthur Pita got down to business in a dance studio. Wendy hadn't known what to expect, 'but Ed said "Trust me on this" and I'm glad I did. Just this little play-around session we had, which lasted a few hours, was exactly what I was looking for – a new approach.
'Arthur's not a ballet choreographer, but I'm really happy about that. This felt more like being in an improv acting class and it was an answer to a prayer. I don't know if I'd have been ready for this a few years ago, but now the soil is very fertile.'
Both Wendy and Edward are wary of giving too much away, but Edward is prepared to divulge that Arthur Pita's segment of the programme 'will be a story about two people. In the workshop, we basically just got to know each other again, discovering how each other moved... Arthur is working with the idea of the tango, a formal confrontation between two people, and we're playing around with some music and lyrics that suggest Kurt Weill's The Threepenny Opera. Whether or not that will be the final music, that's the kind of relationship these two people have.'
The evening will ultimately comprise three duets and two solos. A single designer – Jean-Marc Puissant – will give a unified look to the programme 'and there will be a soundscape that links everything', according to Ed, although he's not naming names. Both of the dancers are clear about what they don't want the evening to be. 'We've seen a lot of those shows where you each do your thing and then everyone claps, and then you have a little pause or a video clip before the next number. There's nothing wrong with that but we want this to be different. So we're going for an hour straight through, with one costume to which we can add or subtract things as we go. A lot of modern dance can end up looking a bit similar. I want this to be specifically about us two and where we are now in our dancing lives.'
Physically as well as culturally, Wendy and Ed make an intriguing match. Both are notably long limbed, whippet-lean and hyper-flexible, qualities that choreographers have been happy to exploit over the years. In addition, Wendy, by her own admission, has 'a crooked back, I have scoliosis. That limits a certain range of motion, but it enhances other shapes I can make well. I have a lot of asymmetry and it's something not every choreographer understands how to work with. In fact, it hasn't been a handicap at all, but my doctors are always amazed – they can't believe that I do what I do. But I've dealt with it since I was 12 years old and luckily I had some very good treatment at a young age, so I learned how to support my spine and work with it. The older I get, the more I have to think about it, because it tends to solidify with age. So I have to keep it as malleable and free as possible and I'm on a quest to keep it as juicy as I can.'
As Edward sees it, Wendy is 'kind of fascinating to look at, but you don't ever think "her back looks a bit wonky." You get drawn in. It is truly amazing the ability she has to draw you in and stop time, almost. She still has this magnificence; it's nothing flashy, more a kind of stillness about her, a focused simplicity.'
All being well, that mature artistry will be magnified to the power of two in their coming collaboration, given Edward's long experience as a partner as well as a soloist. 'I think the trust level will be really deep and special because of that, Wendy concludes. 'We're both experienced, we've both been around the block – we know what we want, we know what's meaningful to us. And the chemistry is what I really want to show – in lots of different choreographic forms.'
This article was originally published in the Royal Opera House Magazine, received quarterly by the Friends of Covent Garden.]]>
Two Mad Hatters take to the stages of the Royal Opera House this festive season, in works inspired by Lewis Carroll's Alice's Adventures in Wonderland. We couldn't resist bringing together the two different versions of the same character for a dance-off in full costume in front of an audience of 50 excited children from local school St Joseph's Primary.
Royal Ballet Principal Steven McRae plays the tap-dancing Mad Hatter in The Royal Ballet's Alice's Adventures in Wonderland this Christmas, while Turbo's hip hop-styled Mad Hatter features in ZooNation's Mad Hatter's Tea Party. The former production will be live in cinemas around the world on 16 December, while the latter will be live-streamed for free via YouTube and this website on 18 December.
The Royal Opera House YouTube channel recently reached 100,000 subscribers and is the most subscribed-to arts organization in the world.
To see more films like this, subscribe to our YouTube channel:
The Mad Hatter's Tea Party runs from 30 December 2016—22 January 2017 at the Roundhouse. Tickets are still available.
The production is staged with generous philanthropic support from Mrs Lily Safra, The Paul Hamlyn Education Fund, The Lord Leonard and Lady Estelle Wolfson Foundation, The Austin and Hope Pilkington Trust and The Royal Opera House Endowment Fund.


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Amateur Radio on the International Space Station (ARISS) reports it has met a major milestone and now is "one giant step" closer to flying its new interoperable radio system to the International Space Station. Eventual plans call for installing a new JVC Kenwood TM-D710GA-based radio system on the station as part of an overall approach that will allow greater interoperability between the Columbus module and the Russian Service Module.
Continue reading ARISS Moves Closer to Launching New Radio System to Space Station


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"It's different," Sherlock announced suddenly breaking John's concentration.
John looked up from his newspaper towards Sherlock who was lying on the couch. He'd been lying there lost in his own thoughts for hours. His fingers were pressed together in concentration, his blue eyes glassy, staring at the ceiling. "I'm sorry?" John frowned, "What's different?"
"You," Sherlock replied continuing to stare at the ceiling, "You're different."
"Right," John answered. When Sherlock didn't elaborate he sighed in frustration, "Are you going to explain that? Or should I guess?"
After lying fixed and motionless for hours Sherlock suddenly became animated. He leapt up from the couch and began to pace the room, agitated, "Since the whole five pips, bomb thing..."
"Ah," John replied, "I suppose so." He smiled at his friend chiding him gently, "It was a brush with death, Sherlock."
Sherlock frowned and continued to pace, his agitation growing as he muttered to himself, "Yes you nearly died...for a moment there I thought you were going to die...that I was going to lose you...he noticed of course...figured it out before I did..."
"Who noticed?" John asked his face screwed up in concentration as he desperately tried to follow Sherlock's ramblings.
"Moriarty, of course." Sherlock replied quickly showing his usual frustration at John's inability to keep up.
"Noticed what exactly?"
"The differences...it was more subtle then...but even then it was all there to be observed. Well, obviously, it must have been because Moriarty observed it. How did I miss it?"
John cleared his throat, "Right, back to the differences. So how am I different dare I ask?"
Sherlock stopped his relentless pacing and sat next to John, his attention seemingly for the first time on him. His blue eyes locked with John's, "That's what we need to discuss. Give me your hand."
Obediently John held his hand out, "If you're expecting it to be shaking again that hasn't returned."
"No, I'm not expecting that," Sherlock replied taking John's hand in his own, "Well? What do you observe?"
"Er," John answered frowning in confusion, "Nothing. You seem to be holding my hand."
"And?" Sherlock demanded.
John continued to frown and shrugged his shoulders.
Sherlock sighed. He ran the fingers of his other hand up John's arm and back with one gentle stroke. John's breath caught for a moment and his swallowed heavily. Sherlock grinned, "You see?"
John cleared his throat, "I'm afraid I don't."
"But it's all there for you to observe!" Sherlock answered frustrated, "John, your heart rate and breathing are both elevated and your pupils are dilated."
John's face flushed slightly.
Sherlock laughed, "and now you're blushing."
John's blush deepened and he pulled his hand back, "Sherlock, I...er...it..er."
"I've noticed on a number of occasions now your eyes following me around the room, you seem to pause whenever we touch as if prolonging the moment, your interest and concern about my daily affairs is far beyond that of a friend..." Sherlock continued unrelenting.
John, still blushing tried to answer but all he could do is open and shut his mouth like a fish.
"Oh," Sherlock added as one last observation occurred to him, "You've also been masturbating more frequently. I deduce I'm the cause."
"Sherlock!" John exclaimed as his powers of speech returned. He was now a deep beetroot red, "You can't...you can't say..."
Sherlock laughed, "John, when will your powers of observation improve? There's really no need to work yourself up into such a frenzy. Give me your hand..."
John hesitated ,clearly terrified at what further revelations Sherlock might make.
"John, just give me your hand." Sherlock repeated more forcefully.
John sighed and held his hand out for the second time. Sherlock took it in his, "What do you notice? About me I mean?"
John gulped, "Um...well..."
"Look at my eyes, John." Sherlock directed him.
"Ah, your pupils are dilated..." John answered shocked at this revelation.
Sherlock moved John's hand to his own chest, "and my heart rate?"
"Accelerated..." John gulped.
"Exactly," Sherlock replied smiling, "My eyes seem to be drawn to you constantly, I hunger for your company and, John, it was no coincidence that Moriarty picked you to strap to that bomb. He could see even then what I could not. You are my heart..."
All at once John's embarrassment and fear melted away and his eyes welled in tears.
"Oh," Sherlock added, "And my sexuality has awakened from a long slumber. From the content of my fantasies it is quite clear that you are certainly the cause..."
John began to laugh heartily, "Sherlock, this is a very strange way of seducing someone..."
"Seducing?" Sherlock smirked thoughtfully, "I suppose I am seducing you aren't I? So what's the next move?"
"Well, a kiss would be traditional..." John smiled.


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Is this restaurant family-friendly?
Does this restaurant serve alcohol?
Does this restaurant have a TV?
Is this restaurant good for dining on a budget?
Is this restaurant appropriate for Kids?
Is this an American restaurant?
Does this restaurant have tables with seating?
Does this restaurant offer takeout or food to go?
Can a vegan person get a good meal at this restaurant?
Is this restaurant good for large groups?
Thanks for helping!
I've been visiting Mama Goldberg's since 2000 and I still feel at home when I sit down with a Mama's Love, Nachos (no peppers) and a Sweet Tea. The parking can be challenging at times, but it is worth the wait. Such a nostalgic experience.
In town for an Auburn baseball game. Food was good. Difficulty in parking. Not very much room. Interesting decor.
I have been a Momma G's fanatic since the early 1980s. As a student at Auburn University, this was a cheap meal and a staple for most of us. I went when the Magnolia Ave. location was the only one - so happy to see many locations now and expansion into other cities. The Turkey Delight and Momma's Love are...
We have tried this spot three times. Every time we are baffled at the menu... it seriously is over kill that would make Ramsey explode! Lol
As we are always rushed to order like we are holding up the world... our orders are never what we really wanted? It really is a neat looking spot but small also... very cool...
You can't visit Auburn without stopping for some Momma G's! It's a staple for a reason. Service is always quick and friendly and the food is simple but delicious. Very college-y atmosphere most of the time.
Gosh, what is the attraction here. Very long wait for cold nachos. I was really put off by the fact that there doesn't appear to be an oven or any grill here so all sandwiches are heated up on panini presses which don't heat evenly.
The nachos were actually kind of gross. I had "Texas" nachos which featured some very...
I like this deli. However today I got very frustrated. We are at the Auburn Game. We come to every game. I usually eat here. Today it was perfect timing, no wait. But My sandwich was given to three people behind me because they weren't paying attention. Had one clerk who kept grabbing the sandwiches for her customers. It made...
The sammiches are delicious, and you can get salads and wraps, they use high end meats, and very consistent in the building and delivery of signature subs...
I went to Momma Goldberg's to hang out with close friends and to see where it all began. I read up on the history of this deli. You can search it as well. Look for the 40th anniversary articles.
The sandwiches are tasty and priced right. There is a good selection of craft brews. The service was great. I'll go...
I've been eating at Mama G's since it opened at the original location when I was a student Auburn. It was the main place I ate for years! I loved it until today - the Sunday after Homecoming. My family had lunch at the original location (my favorite) and it was horrible. The meat was not good - some parts...
Own or manage this property? Claim your listing for free to respond to reviews, update your profile and much more.


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Apple Makes iOS 7.0.2 Available with Lock Screen Fix
Article Comments
Sep 26, 2013, 12:04 PM by Eric M. Zeman @phonescooper
updated Sep 26, 2013, 12:05 PM
Apple today issued a minor update to iOS 7. The system software, which can be downloaded and installed over the air, patches a bug that allowed someone to bypass the lock screen passcode. The update also adds back the Greek keyboard for passcode entry. It is free to install.
from Apple
Apple Releases iOS 9.3.1 to Combat Safari Bug
Apple today made a minor update available to iPhones and iPads in order to fix a browser-based bug. In particular, iOS 9.3.1 addresses an issue that caused apps to sometimes hang or crash completely after users tapped links in the browser or other apps.
Apple Releases iOS 9.2 for iPhones and iPads
Apple today made iOS 9.2 available in to iPhone and iPad owners. The minor update, which Apple has tested in beta extensively over the last month, improves Apple Music by making it easier to create playlists, save songs offline, and browse through classical music.
HTC 10 Picks Up Security Update, Bug Fix
HTC has begun pushing a minor update to unlocked variant of the HTC 10 smartphone. According to the change log, the update adds the latest security patches, fixes some bugs, and improves system stability.
Apple Releases Second Public Beta of iOS 10
Apple today made iOS 10 Public Beta 2 available to those who've signed up to test the pre-release operating system. The beta, which Apple says contains bug fixes and other improvements, can be downloaded and installed over the air.
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14 Hip-Hop Samples Used on Drake's Albums
Drake is known to sample classic hip-hop records on his albums.
Drake is known to sample classic hip-hop records on his albums.
Drake is confessing his undying love for Rihanna...again.
Joe Budden fires back at Drake.
"One Dance" gets the BarackDubs treatment.
Drizzy still has some acting chops.
"For him to take the effort first to want to use a song of mine and then to be man enough to reach out and make that call....that was a real move."
You know Chubbs like Draymond.
Since there's been so much heat dropping over the last six months, XXL highlights the best albums of the year so far.
Summer's here! The Boombox's 10 Songs of the Summer will have you jamming.
"Shout-out to my brother Drizzy Drake for that 60 bands, 'cuz you ain't believe in LeBron."
This is Big Boy Chill's "Top 10," a list of the ten hottest songs in Lake Charles, in the streets and on the radio!
Marcellus Wiley claims a Kendrick and Drake feud was imminent.


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Amount Of Money Dental Assistant Makes in Kansas
May 4, 2012
Dental assistants are one of the health care professionals that have a wide range of daily assignments. Their responsibility ranges from caring for patients to setting everyday dental appointments. One of the major determinants of the dental assistant salary in Kansas is the location of a laborer. For example, those who live in Kansas City have an annual recoupment of $32,099 with the top 10th bracket getting $38,344 each annum and the bottom 10th bracket receives $24,698. Topeka employers pay their workers an average of $30,314 annually with the utmost percentile receiving $36,212 and the undermost percentile gets $23,325. Those who are located in Wichita have a medial annual pay of $31,751 with the top 10th bracket making $37,928 and the bottom 10th bracket earns an average of $24,430. Residents of Olathe get a mean income of $28,000 every year while the ones who live in Overland Park are paid a middle salary of $29,500. These averages are significantly lower than its neighboring state of Colorado. Dental assistants in CO averaged closer to $38,000 annually. However, averages for Kansas were higher than techs employed in NE and OK. Compare all dental assistant salaries by State!
Another factor that can change the dental assistant salary in Kansas is the job definition of a worker. An army reserve physician assistant has a yearly recompense of $65,000 while an assistant manager of collection is paid an average of $23,000. A travel occupational therapist who lives in this state earns a mean salary of $93,000 while a physical therapist travel assistant gets $65,000 per annum. An office administrative assistant residing in KS makes a median wage of $36,000 annually. Those who perform the duties of a medical and healthcare assistant are paid a yearly recoupment of $75,000 while the ones called occupational therapy assistant make $69,000. A storage consultant assistant has an annual pay of $27,000 while a certified occupational therapist assistant gets an average of $69,000. Special job titles are obtained if a person completes an advance study in this field. A dental hygienist and a surgical dental assistant earn a higher salary compared to their colleagues.
The work experience of an individual can also change his or her salary in this field. The entry level income of a dental assistant in KS is $10.08 while the middle 50 percent are paid $14.55 per hour. Workers who have 1 to 4 years of rendered service make an hourly rate of $11.99 while the ones with 5 to 9 years get $14.20. The hourly rate of dental assistants who have 10 to 15 years of work experience is $17.22 while that of veteran workers is an average of $19.92. Different employers in this industry also have different pay rates for their wage earners. General medical and surgical employees have an annual stipend of $41,430 while those who work for outpatient care units receive $35,810. The mean annual pay of those who are hired in doctors' offices is $29,530. Other health care facilities pay their workers an average of $24,950 per annum. The job outlook for these professionals in Kansas is currently 3 percent higher than the national job outlook. The booming industry is one of the reasons why more dental assistants are migrating to this state.
Technical schools in Kansas offer a variety of dental assisting programs. Some have an associate's degree course while others offer a certificate program. There are also vocational schools and universities that provide higher levels of education such as a bachelor's and a master's degree. The Flint Hills Technical College has 481 students right now. It offers an associate's degree to its dental assistant graduates and provides a diverse learning community to its students. This is currently located at 3301 West 18th Street in Emporia. More information about its training programs can be found on www.fhtc.edu. The Wichita Area Technical College is amongst the top-pick schools of aspiring dental assistants in this state. It began operating in the year 1965 and has been providing excellent quality of education ever since. The complete address of this institution is 301 South Grove in Wichita and can be contacted by calling 316-677-9400. This school observes minimal admission requirements and is very open to anyone who wants to enroll in its courses.


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1. 2003
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In The News Today
- The March for Science is happening around the world amid perceived hostility from the Trump administration to science.
- The Justice Department sent a letter threatening to pull funding from sanctuary cities, but the cities will likely continue to resist.
- American Airlines has apologized for a confrontational video of a flight attendant yelling "hit me" to a passenger.
- 15,000 Afghans applied for interpreter visas. Only 1,500 visas remain. Now, with lives at risk, senators want more.
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Woman as a Subject of Bioethics. the Ethical Aspects of Procreation, Fertility and Pre- and Post-Birth Cares
Melina, Livio
Bibliographic Citation
In: Spagnolo, Antonio G.; Gambino, Gabriella, eds. Women's Health Issues. Roma: Societá Editrice Universo, 2003: 411-416
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Bioethics and the Challenges of a Society in Transition: The Birth and Development of Bioethics in Post-Totalitarian Slovakia Glasa, Jozef (2000-06)This paper provides an analysis of the first decade of bioethics development in Slovakia (1990-1999), together with an overview of the most important bioethical issues entering the scene of public debate and scholarly ethical ...


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Children's experiences of learning mindfulness to help learn attentional skills: A study using interpretive phenomenological analysis Bernadette Carelse Educational Psychologist
1. Context of the study Origins of the research project – Educational psychology involves supporting children with SEN, including attentional difficulties – Mindfulness - an area of personal and professional interest Rationale for the study – Attentional skills are related to academic attainment – Mindfulness training can help with attentional difficulties Original and distinctive contribution – Developing mindfulness-based intervention for supporting those with attentional difficulties in a primary school – Exploring children's experiences of mindfulness
2. Background literature Research with adults: Mindfulness can help develop cognitive skills, including attentional skills can be developed through practicing mindfulness (adults and adolescents) Research on mindfulness with children: is an emerging area of research Indicates improved well-being– mindfulness was taught as an additional subject area, e.g. within PSHCE Has been used in health settings for reducing anxiety, improving behaviour (not in schools) Children's views are important – methodological issues
3. Methodology The research question: What are these children's experiences of learning mindfulness? Method A 10-session small group intervention at School Action for pupils in Year 5 with mild attentional difficulties was designed. It was run in a mainstream primary school twice a week for 5 weeks - 50 minute sessions. It was based on ideas from mindfulness programmes including – Adults and adolescents to address attentional skills (MAPs for ADHD) – Adolescents in secondary school settings (MISP) – Breathing Space in Schools – designed by Srivati (London Buddhist Centre) The process included data-collection - Interviews before and after participation in the group. During the sessions, the children were invited to draw or write about their experiences. Analysis – used Interpretive Phenomenological Analysis
4.1. Background to the participants Adam – struggled to maintain attention. Overwhelmed at times by "sad feelings" Barbara – easily distracted, chatty Calvin – daydreams and struggles to focus in class Dudley – finds to very difficult to concentrate in class, unmotivated. Eric – unfocused and disengages often in class Fiona – lacks self-confidence and struggles to focus on her work Fiona: It felt weird because "I shut my eyes" (Session 1, F1:68)
4.2. Initial views on mindfulness "Good" or "fine" (all) "Calm" (Eric) "Relaxing" (Adam) "I feel like better than I normally feel." (Adam) "I thought it was good because I've got more energy." (Barbara) My head was spinning around and around the room, just going slowly, in a peaceful kind of way." (Calvin). "Weird funny" (Fiona) Barbara: "My legs felt that something..was tickling me" (B1:81). "I thought it was good because I've got more energy." (B1: 85)
4.3. The children's immediate experiences of mindfulness Dudley: The initial mindfulness practice was described as "nice and quiet." (D1:118). During it, he had been aware of many different things "all at the same time" (D1: 122). Adam: "I noticed sounds" (A1:121) "I feel like my muscles are relaxed and my body is relaxed." (A1: 123).
4.4.1. Drawing physical experiences (Left) Calvin: describes his first session, saying "I just felt like I was spinning round and round. It was cool towards the end." (C2: 76) (Above) Calvin: (I'm in the middle)..Loads of things were going around. Stars and swirls and stuff." (C2:102) (Right) Calvin: describes body scan in 2 nd session, saying "I kind of felt I was spinning around." (D2: 92)
4.4.1. Drawing physical experiences Calvin: Session 5, describing his breath "It was the like the sea, like it was always moving around." (C2:116) Calvin: Session 8, describes he experiences of a sitting mindfulness practice "I could feel the air and I could hear the bell, the bell outside or something."
4.4.2. Memories Fiona: "I was thinking of the seaside" and the sun "going down". "It makes me want to swim as well." She could not remember where it was (Session 5, F2: 130, 135, 140 and 146). Calvin: "I kept thinking about my bike and how it got nicked... I kept on thinking about ghosts and stuff... I was kind of annoyed about my bike getting nicked." (Session 9; C2:180, 182 and 184)
4.4.3. Imaginary places Eric: Describes session 5, "The beach!.. It felt good and I built a sand castle." Eric: Describes the first session, "I'm meditating... I'm feeling cool.. No hotness, just like it's smooth." (E2: 132, 136, 138) Eric: Describes session 6: "This is football.. That's my coach.. And that's me... Goal!" (E2: 210, 214, 216, 220)
4.4.3. Imaginary places Eric: At the last interview, drew an imaginary world "cookie-land", saying "I'm in my happy place" (D2: 306) where "everything is made out of biscuit, even the dog." (E2: 314) and "When I'm upset, I just go into my happy place" (E2: 346). He struggles to return to the present from here, needing prompting at times. Eric: Session 8 was depicted with the caption "I was thinking about me being an animal." He described his picture, "That's me being a bird, having a worm in my mouth... I was focused on like the air. That's like my breathing (E2: 240 and 252)
4.4.4. Mental processes Dudley: described his picture, saying "The green is me. The blue is the relax. And the brown is comfortableness. Hmm.. I've never done that before." (Session 5, D2: 208) Dudley: described this picture of things that distract his attention, saying "This one's Basketball and this one's football and I'm sitting down thinking of those sports. And someone is singing, who I don't know. And I wrote in the corner "football, basketball and singing "." (Session 8, D2: 270)
4.4.4. Mental processes Calvin: it was on like your thoughts or your concentration. So a candle is burning. It flickers and stuff. And then after a while it goes out. (Session 6, C2: 144) Barbara: Describes her way of maintaining her attention on her breath, "I just felt like singing and so I just thought of humming at bit and then in my thought I was counting to ten " ( Session 8, B2: 351)
4.4.5. Present moment drawings Barbara: "I was just thinking about triangles, going in my head. And I didn't have anything, but then, when I started draw.. thinking I just kept looking at triangles. Everything's triangles. So I thought I should draw the triangles. So I just thought I should draw triangles. Barbara: Describes her drawing from session 9, "Well I was thinking about seeing loads of rainbows, because I've never seen one, except.. except at in Year 5, because we saw a rainbow when we was in the park. " (B2: 371) "I just got it in my head. I just thought of seeing those loads of rainbows in one go." (B2: 373)
Children's views on teaching mindfulness Mindfulness is about developing ways to concentrate, being in the present. The mindfulness course was fun, especially body scan. The practices were initially difficult but got easier. Mindfulness helped them to: – Concentrate better in class, ignoring distractions, focus on the teacher instead of talking to friends and work quicker – Help their friends to be calmer and more focused too. – Speak to parents more calmly and be patient with siblings. Practicing at home: body scan, sitting mindfulness
6. Implications There is increasing interest in the use of mindfulness approaches in school settings Using mindfulness-approaches as a school-based intervention - it has some potential. Use of metaphor to enable children to develop understanding and control of attentional processes. Use of children's drawings to help them to communicate abstract experiences. Supporting children to develop skills to manage difficult (sad or angry) feelings.
7. Further thoughts and conclusions Training to teach mindfulness in schools Adapting materials for teaching mindfulness to help children learn attentional skills. Involving school staff and parents Personal practice of trainers Working with other educational psychologists firstname.lastname@example.com
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text: I recall seeing this topic discussed some time ago, but was unable to find it . Today I had a heated discussion with my unit about my failure to fill in a document called Certificate For Early Employer Notification on a Voluntary Basis. I was more than a little taken aback - why does the MOD Need to Know my 'Line Managers' name and telephone number? My unit threatened all sorts but could not anwser when I asked them where this thing was driven from and what was the legal authority. - Is this really a 'legal' requirement of service? If so, is it MOD regulations or Parliamentry stuff i.e Legislation? - Is this some mong from Sabres way of getting a mailing list together? ( BTW look at their website, the Morons have even got a Para with his beret on the wrong way !!! And these idiots represent us to our employers, no thanks. http://www.sabre.mod.uk/output/Page1.asp - Does it pass the 'Need to Know' section of the Data Protection Act? - If I give any information to a third party (like the MOD) without authorisation from my employer, I am liable to disciplinary action and if I don't , I face disciplinary action from the MOD. - What right does the MOD have under contract Law to interfere with the employment contract I negotiated with my employer?


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Can The Well-being Approach Enhance Southern Agency? By Trevor Parfitt
Introduction Sens Capability Theory and the associated Well-being approach constitute a major contribution to Development Analysis. They seem likely to provide a basis for the post- MDG development agenda. In this paper we shall examine the prospects for such an agenda to achieve the related aims of enhancing Southern peoples capabilities and agency.
David Crockers Account One of the most persuasive recent explications of Capability Theory and Well-being is provided by David A. Crocker in his Ethics of Global Development of 2008. Crocker persuasively argues that enhancement of well- being and capabilities is best accomplished through promoting agency by means of deliberative democracy. In this presentation I shall argue that whilst Crockers argument is broadly persuasive, there is at least one fundamental gap in it. This may be corrected by reference to a Deconstructionist ethics of alterity that emphasises concern for the other.
The Distinction Between Agency and Well-being. Crocker follows Sen in emphasising the distinction between well-being and agency. One reason for this is that both analysts want to avoid development being reduced to a variant of the basic needs approach in which provision of goods (food, shelter, clean water, medicines) becomes the essence of development.
Definitions Well-being concerns a persons wellness or welfare. Ones welfare status can be the product of ones own agency, but might also be the result of what others have done. Agency concerns ability and freedom to pursue and achieve ones goals. As we shall see the question of how free the agent is will become an issue of concern in our argument.
Centrality of Agency Both Crocker and Sen are committed to a conception of development in which agency is central. As Crocker puts it: The ethically sensitive analyst evaluates development policies and practices in the light, among other things, of the extent to which they enhance, guarantee, and restore the agency of individuals and various groups (Crocker, 2008:158). Development enables us to become the authors of our own lives.
How To Operationalise Agency. The question is how to operationalise development policy in such a way that it does enhance the agency of its target beneficiaries. Crockers analysis is that this will be best accomplished through the use of deliberative democracy.
What Is Deliberative Democracy? Sen argues that democracy should not just be reduced to elections, but should be understood as the exercise of public reason (Rawls quoted in Sen, 2003:29), which must involve opportunities for citizens to participate in political discussions and to influence public choice and policy. A central aspect of this idea is that target beneficiaries should have a say in formulating the development policies that affect them.
Deliberative Democratic Development Practice. Crocker argues that deliberative democracy can be implemented at the local level through participatory techniques. At the international level organisations such as the World Bank, IMF and WTO should be democratised to involve an input by those at the grass roots who are affected by their policies.
Problems of Deliberative Democracy. Crocker acknowledges that there are obstacles to the enhancement of developmental agency through deliberative democracy. Most fundamentally, he notes that the freedom of agency that we individually have is inescapably defined and constrained by the social, political and economic opportunities available to us.
Elaboration Or The Lack Of It. Crocker elaborates on this basic point to observe that democracy as actually practiced can be limited in terms of restricting participation to elections, or by limiting who can participate. He also notes that economic inequality limits the ability of the poor to participate due to lack of education, leisure time and access to political institutions. This point is emphasised by noting the extent of world inequality. Crocker acknowledges that this raises a question of whether or not a strategy based on deliberative democracy implicitly assumes a greater level of equality than is extant in the world. He answers this by arguing that only rough equality is necessary to allow most people the possibility of participation and to prevent the rich from completely dominating the political process. Also not all societies value equality and are content with elite rule. However, I feel that Crockers account of the obstacles to a development strategy based on deliberative democracy is insufficiently elaborated, perhaps even naïve in certain respects.
Participation: Tyranny or Democratic? There are challenges to Crockers suggestions that deliberative democracy might best be achieved through use of participatory techniques at the local level. Cooke and Kotharis Participation: The New Tyranny points out the dangers associated with the mainstreaming of participatory techniques, notably bureaucratisation and normalisation in the Foucauldian sense. These are very real dangers that can operate to undermine such objectives as conscientisation and empowerment of those at the grass roots. Elsewhere, I have argued that participation is intrinsically ambiguous in that it can be co-opted by elite groups, but it also incorporates an emancipatory possibility. It should be noted that Crocker himself argues that participatory techniques must be informed by a commitment to deliberative democracy.
What is Globalisation? Crocker encounters somewhat greater problems with his account of globalisation. He divides analyses of globalisation into three camps, the Hyperglobalists, which would include neo-liberals arguing for the globalisation of the market economy: Skeptics, which includes Marxists who criticise globalisation as imperialism and endorse a counter-strategy of anti- globalisation based on local self-sufficiency: and Transformationalism, which examines globalisation as an open and complex set of processes without any pre- determined outcome.
Reforming Globalisation? This analysis feeds into Crockers preferred strategy for dealing with globalisation, what he terms Cosmopolitan Democracy. This consists of firstly, democratic reform at the state level to enhance democratic deliberation, and secondly democratisation at the international level, which will institutionalize popular and deliberative participation in global institutions - such as the UN, the WTO, the ICC, the World Bank, and the proposed global taxing authority - and, in regional institutions - such as the Inter-American Development Bank, NAFTA, and the Organization of American States (2008:394).
But How Far Can Globalisation Be Reformed? The problem with Crockers line of argument lies in his rather dismissive treatment of the Leftist critique of predatory globalisation. Whilst he acknowledges the critique and also acknowledges the growing inequality of global society, he does not put these two factors together. Crocker gives little if any consideration to the possibility that such inequality might be a product of globalisation, specifically in its neo-liberal capitalist form. It follows from this that he gives no consideration to the view that those who are committed to neo-liberalism (either for ideological or economic reasons) have little or no interest in promoting the agency of the Southern poor through deliberative democratic reform (as distinct from governance reforms), whilst those who are excluded have limited power to force reforms. This paper contends that there are powerful reasons to support this view.
Where Did Neo-Liberalism Come From? David Harvey provides an interesting account of how the failure of the Keynesian economic order that had prevailed up to the 1970s created an economic environment in which successive governments adopted neo-liberal economic policies. The Long Boom of the 1950s and 1960s was largely fuelled by US spending based on the assumption that it was backed by US gold reserves, a system that began to unravel when US spending clearly outstripped its reserves. The OPEC energy crisis clearly brought the Long Boom to its end and worsened an emerging crisis of capital accumulation (or profitability). One result was that throughout the 1970s there was social unrest in the USA and many parts of Europe, as those at the bottom tried to maintain their income whilst capital tried to maintain its profits. In addition states such as the UK encountered fiscal crises as the demands of spending on social provision began to outstrip tax revenues. Such was the context in which neo-liberalism emerged as a political force.
Neo-Liberalism As A Class Project? When Thatcher adopted neo-liberalism in the UK and Reagan followed her in the US, it was clear that it emerged as a project to reduce state commitments to social spending and to enhance the rate of profit by reducing state intervention in the market. This involved repression of labour and their organisations, reduction of social spending by the state and transfer of public assets into the private sector by means of privatisation. Such measures are all designed to reduce the income of the lower classes in order to restore the profitability of capital and in this respect neo-liberalism can be seen as a project to benefit capital at the expense of the working classes.
International Neo-Liberalism The Thatcher and Reagan governments played an instrumental role in the establishment of this project at the international level. For example the arrival of the Reagan Administration saw the departure of such proponents of Basic Needs as Robert McNamara and Mahbub Ul Haq from the World Bank and their replacement by Wall Street banker Alden Clausen and neo-liberal economist Anne Krueger. The US Treasury led the way in a neo-liberal alliance involving the Bank and the IMF that became known as the Washington Consensus. Under their guidance development became synonimous with marketisation (Harrison, 2010:20).
Accumulation By Dispossession? The policies implemented under the rubric of neo-liberal development have been similar to those implemented domestically by Thatcher and Reagan, involving large spending cuts by the state, opening up the economy, devaluation and privatisation. Harrison provides numerous examples of how IMF stipulated devaluations have led to food price inflation that has endangered the well-being of affected populations. Similarly, he points to the ways in which retrenchment and privatisations have led to higher unemployment (99-100). Harvey focuses on privatisation, arguing that it represents accumulation by dispossession. He notes how privatisation of municipal water authorities in South Africa has led to price rises that excluded many poorer consumers. As the latter turned to less reliable sources they became more vulnerable to disease (2003:159). Thus private water companies have benefited at the expense of the supposed beneficiaries of development.
Neo-Liberalisms Development Record Harvey points out that in terms of world economic growth neo-liberalism compares very poorly with the Keynesian period. Whereas aggregate global growth rates stood at about 3.5%in the 1960s and 2.4% in the 1970s, they were 1.4% and 1.1% in the 1980s and 1990s (2005:154). Within that overall picture some Southern states have benefited, but the benefits are largely concentrated in India and China. However, those benefits have not been equally divided and there are worries about increasing income differentials in those countries. Overall, we may note that in 1960 the 20% of the worlds people in the richest countries had 30 times the income of the poorest 20% - in 1997, 74 times as much (http://www.globalissues.org/article/26/poverty-facts-and- stats#src26, accessed 12/9/2010).http://www.globalissues.org/article/26/poverty-facts-and- stats#src26
Do Neo-Liberals Want Deliberative Democracy? All of this provides support for Harveys argument that neo-liberal development strategies are actually strategies to maintain capitals profitability. If this has to be done at the cost of the poor that is regarded as an acceptable cost. It follows that the political interests and institutions that have bought into this strategy will not be receptive to ideas (such as those of Crocker) that revolve around mobilising the poor in a deliberative democratic process.
Lines of Conflict All this casts some doubt on Crockers contention that only rough equality is required so that the poor may participate. To the extent that neo-liberalism is a strategy for a development that privileges capital at the expense of the poor, it exists to consolidate the power of the rich in relation to the poor so that the rich may exclude or at least control the conditions under which the poor participate. It operates to limit the agency of those at the grass roots. This is not conducive to adoption of deliberative democracy in the institutions that make policy that affects the worlds poor, such as the IMF, World Bank and WTO.
Lines of Conflict 2 A major problem in Crockers argument is that although he is aware that development cannot be treated as a depoliticised, technical exercise, he seems to under-estimate the level of (sometimes absolute) commitment a socio-political group/class can have to its perceived interests. None of this is to dispute Crockers contention that an effective well-being strategy would be enabled by a global move towards deliberative democracy. Nor does it suggest that such an objective should be dismissed as utopian. However, it does indicate that any such reform will be a good deal more problematic than Crocker seems to think and has conflictual implications. All this is suggestive that committed neo-liberals in organisations like the IMF and the WTO will be far from receptive to reforms that threaten to radically transform the working of said institutions. And to the extent that they are willing to give such ideas a hearing it is likely to be with a view to cooption.
An Ethics Of Alterity In other publications I have recommended a Deconstructionist ethics of alterity, or concern and respect for the other, as a basis for development. Whilst such an analysis cannot substitute for the insights of capability theory, particularly its emphasis on the importance of agency, I will suggest that it provides a better insight than Crockers line of analysis into the problems involved in trying to change existing power structures through such means as promoting deliberative democracy.
Why Can Deconstruction Explain Conflict Better? The fundamental insight offered by Deconstructionist theory is that any body of knowledge or analysis involves not only the organisation of concepts, facts and theory into a coherent account of reality, but also the exclusion of those facts and analyses that do not fit, do not seem relevant, or are unknown in that account. So, Neo- liberalism does not recognise the Marxist view that capitalist accumulation leads to the concentration of capital and the emergence of monopolies that are able to set market prices. Such a concession would undermine the neo-liberal tenet that value is set by the operation of the free market. These founding exclusions are essential to the coherence of the body of knowledge concerned precisely because they would tend to destabilise it.
Sources of Conflict The problem is that these exclusions cannot be completely repressed and they return to destabilise established knowledge. Thus, Neo-liberals meet the critique that existent markets are not perfect and that there have been instances of monopolistic price setting (the oil companies are often cited as engaging in setting the price of oil). It can be seen how such exclusions can be a source of conflict. One might cite the American Declaration of Independence which stated that all Men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty, and the Pursuit of Happiness - but excluded black people from the right to liberty. This was an exclusion that prompted military conflict and issues pertaining to exclusion of blacks still resonate in American society.
Ethics of Alterity The latter example also illustrates how this line of thought clearly leads into an ethics of concern for the other inasmuch as groupings who are excluded, like black people in the US context, are likely to be the victims of morally unacceptable injustice and violence. Hence an ethics of alterity maintains concern to recognise and respect others (and their agency) in order to avoid the violence of exclusion.
Crockers Omission The omission in Crockers argument that comes back to haunt it arises from the lack of a depth analysis of the sources of global inequality. His failure to examine the deleterious effects of neo-liberal policies in the South feeds into an associated failure to adequately explore the contention that there are powerful international interests that benefit from the neo-liberal model of capitalism and from associated global inequalities. This means that he radically underestimates the obstacles that such interests are liable to put in the path of the development agenda he favours.
A Deconstructionist Approach A deconstructionist approach would actively look for the constitutive omissions in neo- liberal theory and consequently would take cognisance of the plentiful evidence of the inegalitarian effects of neo-liberal policies. This would automatically lead to an appeal to the ethics of alterity in order to correct and to combat the exclusions associated with these policies. How then might a deconstructionist strategy differ from that of Crockers?
In Answer A deconstructionist approach would be formulated in the awareness that appeals for global democratic reform would meet opposition and that there might be conflict. Derrida argued that any campaign for reform would need to follow a two track strategy (1994:86-87). The first would make appeals for reform based on an apparent acceptance of neo-liberal values in order to show the gap between the claims of the ideology and its practice. Thus, it would entail campaigns for Europe and the US to abandon protectionist practices in accordance with their ideological claims. The second strand would entail a more radical questioning of neo-liberal ideology of the type undertaken by Harvey. Both of these strands of the campaign would be justified by an ethics of alterity demanding the end of unjust exclusion of Southern people at the grass roots. On the practical level, this would underwrite campaigns for reform that should be mobilised in all available forums. One might envisage that a central requirement for reform would be the formation of what Laclau and Mouffe would term a hegemonic block (consisting of NGOs, popular and political groups) that would enable effective popular opposition to the influential interests supporting the existing system.
Conclusions We have argued that Crocker convincingly contends that an effective well-being strategy of development that enhances the agency of the Southern poor requires international reform based on deliberative development. The problem with his argument is that lack of an adequate analysis of the sources of inequality in the existing system lead him to seriously underestimate the opposition his proposals are likely to meet. This paper has argued that a more effective strategy for the adoption of a well-being approach and of democratic reforms might be obtained through a deconstructive approach.
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