Ethos & Approach

Ethos

 

Learning and community drive my work.

 

  • I believe that ANYONE and EVERYONE can learn to create music and art, whatever their background, age, skills and previous experience. All that is needed is a willingness to try something new (i.e. take a risk!), to learn (i.e. to grow!) and an interest in the art form. 

  • I recognise that each person participating is unique. They have their own story of who they are, why they are taking part, what they hope to achieve, how they hope to grow and what they have to offer. Each person has dreams, fears, aspirations, worries and rich lives. Each person is welcomed into a project; all contributions acknowledged and valued.

  • I love the way a group comes together during projects to form a learning community. It isn't always an easy or straightforward journey and the character of the community is always changing. However, I have seen the beginning of friendships form, or friendships deepen through participating in a shared experience and a greater sense of wellbeing develop. 

 

I am committed to:

  • Providing learning opportunities that enable people to come together and learn alongside and from each other, whilst also encouraging individual challenge, enquiry and development

  • Creating a learning environment that acknowledges and validates the unique character and needs of individuals within the group

  • Facilitating a learning experience that is rich, diverse, fun, inspiring, enlivening and confidence-building

Facilitation

 

When facilitating creative music projects, I may undertake a variety of roles, including but not limited to:

 

  • Facilitator

  • Teacher

  • Creative director

  • Collaborator

  • Performer

  • Artist

  • Composer

  • Arranger

  • Producer

  • Conductor

  • Mentor

  • Project Manager 

 

Whilst the process will likely include teaching some material, skills and concepts, the emphasis is on creating a learning environment in which participants are encouraged to explore and think like a community of artists, and to work as a team in order to achieve a shared goal.

 

I also try to create learning environments and processes where a variety of learning styles and needs can be incorporated, including making learning an embodied experience.

Form

I usually think of the form of a project and each session in the following way: 

  • Introduction: expectations, processes, elements within the project/session

  • Invitation: social, musical, creative warm-ups 

  • Preparation: introducing processes, elements and material and 'free-play' exploration for later application

  • Creation: group and independent exploration and application of processes, elements and creation of new material

  • Assimilation: sharing, discussing, assessing, arranging, refining

  • Celebration: ‘releasers’

  • Conclusion: expectations, processes, elements for future activities, informal group evaluation

 

Content

 

I use a variety of material and starting points for sessions and projects which can help as a reference point in order to focus and unify material created by the group. 

 

I enjoy working as part of a cross-arts or multi-disciplinary team, and relish opportunities to learn from and with professionals in other fields. Whilst music is my area of expertise, I try to incorporate elements of other art forms into the process, understanding that each person has different skills, strengths, passions and ways of comprehending the world.

 

I will often teach or transmit musical material aurally, and rarely use notation in the transmitting or rehearsing of material. I would also build in opportunities for creative play with the materials and concepts before defining any output-based tasks, for instance, free play with instruments or a fun exploration of the project theme through a cross-arts process.

The potential for cross-curricular learning is rich, and starting points are tailored to the unique learning context and objectives required by the project:

 

  • ‘Backbones’: a small fragment of music composed for the project, or drawn from existing repertoire. It can be from 2 bars long to a one-page score, but essentially it focuses on a couple of musical elements (the 'skeleton') upon which other elements can be layered or added (the 'flesh').

  • Conceptual: using a concept or theme. This works really when it is relevant to the group involved, has an emotional dimension and is rich in metaphor 

  • Historical / Narrative: using a story from history or a fictional narrative 

  • Experimental, collective: using chance elements to create material, or a collective experience

In larger music projects, I will sometimes combine collaboratively devised material with existing repertoire that serves to enhance the thematic content. Using existing repertoire in entirety can create a sense of security through balancing the routine of learning and rehearsing material with the freer, creative play involved in collaboratively creating material.

 

I am particularly interested in co-developing projects that involve:

  • collaboratively developing original artistic material 

  • bringing different communities together, including artist communities and working with ‘non-musicians’ or amateur musicians

  • mentoring and peer mentoring

  • sustainable practices

  • interdisciplinary collaborations, including professional development

  • cross-arts collaborations

Availability in 2020:

I am currently seeking expressions of interest from Commissioners. 

Info for Commissioners

Each project I facilitate is designed bespoke for your organisation.

 

In order for me to put together a proposal and quote for you,  please get in touch with the following information:

  • aim, outcomes, objectives and outputs for the project including learning and social/community objectives

  • group size and profile including SEN, interests and strengths, group dynamics

  • potential days/times/dates of the project and any deadlines

  • location and setting of the project and contact details

  • resources available at the setting

  • contact information for the organisation and venue

  • any other expectations that impact on time

 

Please be aware that for each hour spent on the delivery of a project, I usually spend an equal or greater amount of time on admin, travel and planning. 

 

 

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© 2014 by Kate Page. 

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