Insiders insist that weddings are recession proof but are adding that the market is segmenting into higher and lower price points, with mid-tier product being more challenging to place. She strives to find accessories that are beautiful but also cost-effective. BHLDN aims to curate an assortment that is accessible to all brides so that every woman can feel special on her big day. According to The Knot, couples are showing their unique style by choosing unexpected places to wed, and all this leads to more creative approaches.
Farm weddings, with their Instagram-ready, photogenic barns, have doubled in popularity since Beach weddings are another popular option, costing less than a banquet hall and expanding the fashion opportunities. Jewelry designer Samantha Wills has a bridal tab on her website, showing boho jewelry like foot chains for the alternative bride. Hair vines with crystal and pearl have been a trend for a while, but now instead of crazy glam sparkle they are showing a lot of vines with more natural materials like freshwater pearl and organza.
For the more bohemian bride, gold has come in strong as a metal where silver mixed with clear crystals or pearls used to predominate. Through this discussion, it is hoped that a greater understanding of the terms and conditions for taking a youth-led approach within youth arts programmes is reached. Within Ireland, there has been a shift at governmental levels, both nationally and locally, in addressing the needs of young people.
Taking youth voice into the account of provision of youth arts has become more significant within national agendas. These criteria are felt to be relevant in defining quality and best practice approaches within a youth arts context. In general, young people are often seen to have input into the direction and daily running of youth arts projects and longer-term programmes.
As explained by Larson, Walker and Pearce , adult-led programmes consist of adults employing greater control over daily programme activities, but with the input of young people included. Research often. Typically, adults set a framework of rules, structures and roles that provides an opportunity in which young people may give input Opelt ; Roberts and Treasure ; Larson, Walker and Pearce While such an approach allows for the input of young people in decisionmaking processes, there are limitations. The ownership and creativity of as well as learning by young people within projects may be limited because adults may be seen as an authority to be adhered Freire ; Vygotsky ; Larson, Pearce and Walker ; Sabo-Flores Projects that follow such a model may experience a lack of attendance and involvement of young people in programme steering committees as a result Larson, Pearce and Walker In such programmes, young people may have more opportunity to make and enact decisions.
Such approaches are often taken in the context of youth and community development work Sullivan ; Ginwright and James ; Larson, Pearce and Walker In analysing theories on such a youth-led approach, Larson, Walker and Pearce stress the importance of partnership between adults and youth. They also explain that much of the limitations involved with such an approach appear to centre on adult concerns and assumptions that young people may not have enough experience to organise and maintain programmes.
In addition, misunderstanding around roles of adults versus roles of young people may be encountered Larson, Walker and Pearce However, relationships between youth and adults in sharing decision-making powers often build over time and in stages Jarrett, Sullivan and Watkins The organisational or institutional settings and structures, the condition of the physical spaces in which workshops and activities take place, the materials and funding available, the artistic media in which a group is working and developing practice, the learning and developmental needs of young people involved, and the skills of practitioners, facilitators and artists are some of the factors that determine the approaches that may be possible.
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No one programme or project is the same. Continued overleaf Hart critiqued the ways in which governments consult and work with young people regarding issues that affect their lives. He provided an eight-point scale, a ladder, which details ways in which programmes for youth are often structured. Towards the top rungs of the ladder is what he refers to as genuine participation, where young people have specific roles from adult-initiated to eventually youth-initiated discussion and decision-making Hart , More specifically, such a consideration.
The Tallaght Young Filmmakers are described as a youth-led filmmaking group for ages 14 to 19 that meets weekly, with some intensive project periods for specific film shoots during school breaks. Further, work with TYF has allowed the Arts Office to understand that youth-led work is a balancing act; one that sways, at times, back and forth between the leadership of young people and the encouragement of adult workers.
During the — school year, students in two different schools had worked on different filmmaking projects that saw them scripting, acting in and directing their own film projects with the support of a filmmaker. These students came together on a trip to attend master classes offered by Cinemagic Film Festival. During their day-trip together, the students proposed starting an after-school filmmaking group to continue filmmaking beyond the school-based projects that were soon coming to a close.
The agreed aim of TYF has been to strengthen the infrastructure and excellence of youth film produced in Tallaght through a programme led by and through the voice and creative agenda of the young people involved. In taking a youth-led approach, it was felt that TYF would provide a supportive environment in which young people could gain confidence, experience, and skills in the process of collaborative filmmaking with the assistance of professional filmmakers. At the heart of the youth-led approach taken within the Tallaght Young Filmmakers is an understanding of partnership.
Adult workers are there to provide technical and administrative support as well as guide young people on budgets and provide information and advice on project planning and implementation. They also provide support if difficulties or conflicts arise within the group Greenhat The Youth Film Leader meets weekly with the group to discuss film projects that may be. Professional filmmakers are hired through an interview process with the young people themselves to mentor, or advise, the group on how they might carry out particular film projects.
In addition, professional filmmakers may become involved to deliver one-off master classes in particular areas of filmmaking. Today, the seven member group is now eighteen strong with a waiting list. One member from the original TYF is still involved. The programme has seen three young people go on to study filmmaking at third level and a number of other members go on to facilitate filmmaking sessions for other young people, act in feature films and assist on film shoots.
The group has screened their work to a wide audience and won awards in youth film festivals.
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The development of youth-led practice within TYF has been a process, not without its highlights and growing pains. Much of the description of the limitations of both adult- and youth-led approaches mentioned above were lived experiences for TYF. At times, adults involved in working with the group held back ownership from young people, for fear that they may not be able to lead and deliver projects to completion. In addition, young people sometimes needed more direction and were not always clear on how to lead the development of specific film projects. In addition, the structures in place, such as frequency of meetings and the processes for feedback and consultation with TYF members were not always effective.
Through a process developed over nearly three years, adults and young people involved in TYF have found ways in which to facilitate youth leadership and ownership of the filmmaking programme. Being sensitive to the needs of the young people with whom we work as well as the institutional settings in which that work is housed.
Taking time and being flexible, allowing mistakes to be made and learned from, by young people and adults. Being strategic about where to begin. Allowing young people to realise the gaps and mistakes, while difficult, promotes a level of learning needed for taking leadership. At the same time, adult workers are often required to balance those gaps with advice and guidance so that young people do not feel wholly let down. At the same time, however, it is important for young people to understand that adults, too, need the flexibility and encouragement to make mistakes and learn from them.
TYF has been a great opportunity in which both young people and adults have had the time to do just that, resulting in positive learning and creative experiences for all involved. Asking questions. Project planning and programme development within TYF often involves adults questioning young people about project ideas and plans and vice versa. For example, if at all concerned that young people have missed a step in a key aspect of project delivery, often asking questions about what may have been missed can raise awareness.
This approach is also very useful for monitoring and evaluating project delivery and individual and group learning on a project. In addition, encourage and support young people to do the same of adult workers involved in projects. Such approaches allow adult workers to better understand what young people artists are passionate about as well as what their learning needs are.
Encouraging learning from mistakes to be immediately applied. Get going on the next project or series of workshops with these areas of learning in mind. Realising that knowledge is cumulative. At the outset of the programme, TYF was described as youth-led. However, while individual film projects may have reflected the ideas of young people at their heart, the programme itself was not fully youth-led, nor could it have been at the time.
It has been through the involvement in different film projects, working with different filmmakers, and the joining of new young members with different areas of interest in film that has helped to shape the development of TYF in new directions and that has allowed for greater leadership of young people.
A balance is needed. Youth-led approaches do not mean that young people take complete control over every aspect of programme or even project delivery; however it is driven by them. At times, young people need to know that adult facilitators and artists are there to help and guide.
Stepping in to ask a necessary question or encourage a group to meet a deadline, or even assist with that process, is not taking power away from the group, but allowing them to know you are there. The development of youth-led initiatives takes serious commitment from both the young people and adults involved. These initiatives require flexibility in approaches as well as time, providing environments in which. Among the aims of the programme are to develop creative and critical thinking skills among young people, to encourage interests and passions outside of school hours, and for young people to give their time voluntarily to a project.
This paper is an exploration and analysis of the origins and development of Red Square. A note on national context The requirement for galleries and museums to focus on the development of education programmes that sit alongside exhibition programmes in Ireland over the past two decades has been driven largely by the Arts Council of Ireland and inspired by the quality and impact of programming at the Irish Museum of Modern Art. Within this, youth participation has traditionally occurred through schools and community programmes.
Internationally, consultation and peer leadership within youth programmes in a gallery setting has been a feature of gallery education practice since the early s. In more recent years in Ireland, a focus on working with those of secondary school age informally in galleries in a consultative and often peer-led approach has been apparent, with the setting up of programmes such as Young Model at the Model, Sligo, Studio 8 at IMMA and Young Curators Inc.
The informative, insightful and relaxed nature of the article, and the entertaining approach of the young person led us to think about instigating a young critics group who, with heightened tools and interaction with artists, curators and critics, would engage in more elaborate, informed and extensive criticism that could be shared with peers, exhibition visitors and the media. Although a loose structure was in place for the duration of the first young critics project, the young people decided on their manifesto, their name and which aspects of the Kilkenny Arts Festival they would critique.
They met and interviewed artists and curators, channelling the results of these interviews into the content of their critiques online and in the local press. Furthermore, it mobilised a group of young people who were interested in continuing to work with us and in initiating youth projects themselves. Red Square Roots The Butler Gallery has run events and residencies for young people of secondary school age as part of its core programme since ; but nothing on a voluntary and informal basis.
Having seen at first hand the full impact of the youth programme at Tate Liverpool, I set about developing a youth programme at the Butler Gallery in , looking at models such as Young Tate, but also the Irish context, keeping in mind the wealth and quality of existing non-gallery youth arts practice in Kilkenny such as Barnstorm Theatre, Young Irish Filmmakers and the existence of 2 youth centres — Ossory Youth and the Drum, run by Foroige.
This time there was a desire to do and see less in the festival, while being more genuinely critical about the artwork they chose to critique. Also, the project spent more time discussing criticism and what it meant to be critical with facilitators focusing on certain aspects of the visual arts and theatre alone working with artists Etaoin Holahan, Kate Strain and Anna Galligan of Barnstorm Theatre to achieve this , and worked with Young Irish Filmmakers on a documentary film of the project.
The project emerged among a small group of young people who were involved in the first young critics project, and who in collaboration with the gallery successfully applied for a Leargas Youth in Action grant. Given the tangible and public end-product of the process, the usual systems of the Butler Gallery were challenged by the collective curating of the exhibition, as the group made the final call - not just about choosing works, but deciding on the look and feel of the invite, the opening and most importantly, the hanging of the work.
An emphasis on both process and product, with an open-minded and flexible attitude to the latter helps the success of a project. Adequate time to realise projects may seem an obvious point, but was pertinent in our young curators project, as we had a tight turn around to organise the exhibition following the completion of training.
The capturing of ideas that emerge along the way, while reflecting on and reviewing these is important, as are the evaluation, research and continual development of ideas. During the project, a mix of activities aimed at different learning styles was necessary, and at the outset a connection with schools and teachers was crucial for the attraction of participants to the project. Red Square Future In the early days, our concerns were simply about gathering a group of young people who were interested in taking part in workshops and projects at the gallery.
Then it became about the retention of these young people and the generation of new ideas and funding for projects. More and more, Red Square became about giving the young people we were working with a genuine voice in the development and growth of the programme. Now, I believe it should be about accessing and empowering young people from different cultural backgrounds to participate in the programme.
Through the Red Square projects, the Butler Gallery has developed an ethos that is about nurturing the audiences of today in a way that makes sense to their lives now, rather than simply building an audience of the future. Follow this link to read the full version of this paper on Practice. The development of the youth programme proved a steep learning curve for all involved. On reflection, we learnt that one of the most important tenets for the success of a gallery-based youth project is genuine organisational support from start to finish, where colleagues are sympathetic to and supportive of young people and the nature of what they are trying to do.
Confident, clear and consistent communication from the point of view of education staff managing the project is of utmost importance, and the ability to mediate the needs of the group within the overall structure of a gallery setting. A dedicated funding strand is crucial to a substantial youth programme that can spend on dissemination and marketing as well as activity and content. Facilitation needs to be objective, informed and inclusive, with realistic and collaboratively agreed aims of any particular project mapped out from the.
On 5th February , in Wexford Opera House, a group of 60 young people performed an extract from the opera La Traviata with professional opera artistes. They had just completed a day-long workshop that had brought them together from many different youth groups across County Wexford.
Initially dubious and somewhat embarrassed about participating in an opera workshop, over the course of the day they had warmed to the idea, had a lot of fun, and developed a better understanding of what exactly takes place behind, and on-stage at an opera house. The OperaWhat? These included a voluntary steering committee consisting of local arts and community agency representatives; County Wexford Community Forum; and Wexford Opera House personnel. This pilot event was the culmination of 8 months research and development undertaken at Wexford Opera House into opera education and community outreach.
Sharing knowledge, resources and enthusiasm were key to making an event such as this a success - encouraging young people to consider the cultural facilities and artistic resources that are on their doorstep, and the many different routes they could take to get involved. Offer, and encourage engagement with, free learning and participation opportunities at Wexford Opera House;.
Consult and gather feedback from the community to inform the development of Learning and Participation at Wexford Opera House. Background In April , Wexford Opera House commissioned a feasibility study to assess the viability of implementing a programme of learning and participation activities in Opera across County Wexford.
Emerging from their desire to engage with the local and regional community, the intention of this study was to actively connect with the community. This was not only to consider if the anticipated programme would be possible, but also to give a voice to the needs and desires of the potential participants - in particular children and young people. Constructed on the site of the old Theatre Royal, historically a popular community venue at the heart of Wexford town, it is important to Wexford Opera House that it maintains this relationship with the local and regional communities, as well as developing new connections.
However, specialisation and re-branding as an Opera House has provided its own issues. The perception by the community of this redevelopment has not always been that of accessibility and inclusiveness. Opera, as an art form in itself, poses problems, with preconceptions of elitism, exclusivity and inaccessibility.
With this pilot project, it was hoped that these issues would be addressed; that more people would be encouraged to become involved with Wexford Opera House activities, contribute to the development of Learning and Participation at the venue, and realise that opera can be an accessible and enjoyable activity for all. The first OperaWhat? Fifty-five people attended, representing twenty-nine youth and community groups from a range of locations and backgrounds. Participants spent the afternoon in various activities, meeting and working with professional artistes in opera and theatre.
This event was a huge success, and led to a specific enquiry from Wexford Local Development, seeking opportunities to encourage the young people they work with across various groups, to become more aware and involved with cultural activities and resources in County Wexford. They wondered if young people could overcome existing barriers to participation and experience and learn more about this artistic activity on their doorstep?
These were: Financial: Cost of tickets; transport; Practical: Including distance; child-care; Social: Feeling uncomfortable in a venue; discrimination against marginalised groups; Physical: Including lack of disabled access; Cultural: Lack of interest, or perceived relevance to their own lives. Fourteen years later, these barriers still exist; and for young people, these issues are compounded by a lack of specifically targeted activities.
In particular, those activities that develop awareness and understanding of the relevance of arts activities to their own lives, and allow access to professional practice. This is especially true in opera - and the many opportunities it can provide for young people to engage with all areas of production, including.
Many of these participants took their first steps into the opera house, and discovered that there was something of interest for them in this beautiful venue. The groups mixed and met new people from different backgrounds, in a neutral and safe environment. Supporting the young people in taking that first step across the threshold of an opera house opens a world of opportunity that they most likely were unaware exists for them.
It allows for the development of interest and awareness, and encourages participation. Feedback indicated an increase in enthusiasm for opera, and many young people have returned to Wexford Opera House for other events and performances. A talk from the Technical Manager, Michael Lonergan - enlightening them as to the technical capabilities of the venue, and the work involved in production. A workshop, designed and delivered by opera director Thomas de Mallet Burgess, and singers Fiona McAndrew and Declan Kelly accompanied by professional Repetiteur Nolwenn Collet - all highly experienced in facilitation with youth and educational projects.
The future of Learning and Participation at Wexford Opera House hangs in the balance as, due to a lack of funding, difficult decisions have had to be made about programming and support for such projects. The feasibility study showed that there are many potential participants and supporters for a longer-term programme. It is hoped that eventually Wexford Opera House will be producing community operas - that is, led by the young people and communities who participate; develop a youth opera company; and set up an outstanding learning programme.
In the meantime, we seek opportunities to develop relationships and partnerships; and engage with the young people and communities of County Wexford to continue what we started: developing interest, awareness and opportunities to access all areas of opera. The issues of communication and transport were addressed by Wexford Local Development, and the partners also agreed on Health and Safety, and Child Protection protocols across both organisations for the day. But key to the success of the project was the design of the workshops and talks.
It was necessary for them to be interesting, to engage participants in activity, and to make it relevant. The setting would encourage the young participants as chorus to mingle and become involved in developing the party scene; and gave them a sense of ownership of the final product.
Experiences and Outcomes The event ran very smoothly and once the young people had arrived and settled in, they became very involved and interested in the activities they were undertaking. The initial shyness and embarrassment that existed among the participants was soon overcome by the excitement of new experiences. The opportunity to directly access professionals in the field of opera creation, performance, and production was significant. The CRAFTed programme places professional craftspeople working alongside teachers in primary schools, focusing on integrated learning methodologies through the visual arts curriculum, with an emphasis on skills that can be applied to project based learning in numeracy, literacy and in the Social, Environmental and Scientific Education SESE curricula.
One of the main aims of the programme is to develop good collaborative practice between craftspeople and teachers.
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Feedback and evaluation from participants to date has shown that the pre-project collaborative planning is invaluable and contributes greatly to the success of the CRAFTed programme, as it creates a shared understanding as to the expectations, and aims and objectives for everyone. Due to the success of the programme, it has now developed from a regional to a national programme, and has dramatically expanded to include all the full time Education Centres in the Republic.
As each centre hopes to involve six or more schools, this means that in , the programme will involve about one hundred and twenty schools, providing greater opportunities for more craftspeople to become involved. This was piloted in six schools in , its key aims being: joint collaborative training for both teachers and craftspeople; pre-residency planning; and support around the visual arts curriculum. Positive feedback from the pilot resulted in expansion to other regions over the next few years. One of the keys to its success was good feedback and evaluation from both craftspeople and teachers, which was carefully documented, leading to additional aims and improved delivery.
An information day for craftspeople, in which the aims, objectives, methodologies, and terms and conditions of the programme could be clearly defined before they applied;. A selection process and interviews for craftspeople to ensure a level of quality and professionalism. The outcome of the meeting stated that the Crafts Council of Ireland needed to commission a feasibility research study, which was then conducted by Mairead Mc Allen in March The following year,. Each school also made a small financial contribution. With Craft in the Classroom expanding and developing as a model, the question of how to enable the programme to grow without losing the integrity of the model became extremely important.
At the same time, the economic environment in Ireland signified a threat of cuts. CRAFTed is presently in its preparation phase, with the Crafts Council expanding its education panel to meet the demand for work opportunities, and to place more craftspeople regionally.
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In preparing to develop a new strategic plan , the Crafts Council of Ireland agreed that research into Craft in the Classroom was required in order to focus its future efforts in the primary sector. A number of key questions had arisen from the initiative, such as: the focus and effectiveness of the programme; the role of the Crafts Council; the nature of the collaboration between teachers and craftspeople; and how to adapt the structure of the programme for delivery to a national audience.
The project involves 10 contact hours in each school. The length and timing of sessions can vary from project to project and is agreed on at the preresidency planning meetings. Both teachers and craftspeople were invited to share their projects and discuss their experiences and feedback showed that participants found this very inspiring. The Education Centres also hosted exhibitions of the works created during the CRAFTed programme, and students were invited to the centres to view their work and that of their peers. Students were delighted and proud to know that their work was part of a bigger programme, taking place in other regions and that other children were also viewing their work.
Primary research through questionnaires to assess the impact of Craft in the Classroom; its strengths and weaknesses, the needs of teachers and craftspeople and to map the direction for future initiatives in the primary education sector;. This new education platform will enable wider access to the wonderful work created through the CRAFTed programme and it will also provide ideas and inspiration too.
It felt so clever and so right, as a way to make her presence felt on stage. The clever positioning of instruments made for wonderfully transparent listening at times, allowing one to follow delicate melodic lines of harp and celeste with the same ease as the thundering explosions of brass or timpani.
This was opera as wall of sound and those chorales sounded terrifying and awesome in equal part. One risk of any operatic concert staging is for singers to be overwhelmed by the orchestra and chorus behind them. This was never a problem for the fearless Boylan in the title role, whose experience in Wagner and Strauss reveal the astonishing vocal power she wields. That said, he characterised his turmoil well, helped by a wonderfully expressive face and posture. What a phenomenal talent she is! That the sacrifice is famously made meaningless seconds later when Calaf reveals his name to Turandot was not so easily blacked out alas, a plot flaw that would receive an instant backlash on Twitter today.
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It is proof that spectacular effects can be achieved in a limited space. The evening was filled with these touches of musico-dramaturgical intelligence which meant that acts rarely flagged. Originality and ingenuity of dramaturgy and stagecraft has become synonymous with Opera North in recent years, and their production of Turandot was no different. To add to this the utter conviction of the soloists, chorus and orchestra in the words they are delivering, then you have a truly winning production.
There are still tickets available for the final performances in Leeds, and I would encourage you to snap them out without delay. Mail will not be published. It's the latest release from his forthcoming score to The Decalogue, the artist's latest c [ Joker is a psychological character study of a disturbed man who turns violent.