• HEADLONG TO CREATE A BASE IN OXFORD WHICH WILL SEE THE COMPANY PRESENT NEW WORK IN THE CITY EACH YEAR
• HEADLONG TO FORGE NEW CREATIVE PARTNERSHIPS WITH THE OXFORD PLAYHOUSE AND THE UNIVERSITY OF OXFORD’S STEPHEN A. SCHWARZMAN CENTRE FOR THE HUMANITIES

Over the past five decades Headlong has been instrumental in shaping the UK’s theatrical landscape, with productions such as Enron, Best of Enemies, People Places and Things, untitled f*ck m*ss s**gon play, 1984 and Jitney. Today the company has announced a new national model that will see them deepen their relationships with partners, artists and audiences throughout England as they continue to create the highest quality mainstage drama for the nation in their 50th year.

Connecting to their roots in Oxford where the company first began as the Oxford Stage Company in 1974, Headlong will create a new base in the city in late 2024, as part of the Arts Council’s National Portfolio transfer programme. Continuing their mission to create exhilarating theatre firmly rooted in the immediate questions of our time, the company will evolve and shape a new future in the city with two three-year strategic partnerships. 

Headlong’s new partnership with Oxford Playhouse – one of the country’s leading regional theatres – will provide the company  with a ‘home ground’. A space to test new audience development practices, annually present main stage touring work and deliver, for the first time, practical on-stage workshops for Headlong Origins programme which looks to develop early career theatre directors from across the UK. This closer working relationship with the Playhouse will begin with A Raisin in the Sun this autumn, which will visit Oxford (2-5 October) and builds on the legacy of presenting critically acclaimed work  such as People, Places and Things and 1984 at the venue.

Headlong will continue to develop their Future Making strand of work, with Oxford University’s Stephen A.Schwarzman Centre for the Humanities, a state-of-the-art academic research, exhibition and performance space which looks to demonstrate the essential role of the humanities in helping confront and answer fundamental questions of the 21st century. Through this new partnership, Headlong will provide a space for artists and collaborators to think and innovate as they continue to explore the intersection between drama, cutting edge research and technological advancements, and reimagine what the future of touring theatre might look like.

Professor Sos Eltis, Fellow and Tutor in English at Brasenose College, Oxford comments:

‘This is wonderful news. Headlong has produced some of the most exciting new theatre in recent years, and to have them resident in Oxford and collaborating with the University and Oxford Playhouse opens up new possibilities for exchanging expertise, enriching our scholarship and understanding of theatre practice, and working together to produce innovative new performances. Here’s to shared learning, exploration and great conversations! ‘

Lisa Maguire, Executive Director of Headlong says: “This is truly an exciting moment in the ever evolving and future facing mission of Headlong. Our new base in Oxford presents us with the opportunity to partner with our old friends at the Oxford Playhouse to present work whilst also collaborating with the Cultural Programme at the new home for the humanities at Oxford University to innovate and experiment ”

“We hope to develop our audiences in the city so that performances in Oxford feel like playing in front of a home crowd ahead of touring across the nation, and beyond.”

As a national touring company, Headlong distributes powerful, world-class drama across the UK; from Plymouth to Nottingham and London to Liverpool. The company will continue to deepen its relationships with venues, artists and audiences throughout the country with two new Associate Partnerships with Octagon Theatre Bolton in the Northwest and Leeds Playhouse in Yorkshire. Building on existing creative relationships with both organisations (most recently on A View from the Bridge and Henry V) the new Associate Partnerships will provide a solid, collaborative foundation from which to create new productions, grow audiences  and progress best practice around disabled audience access and environmental sustainability.

In its anniversary year, Headlong will commission five new plays. Writers will range from well known names to early career artists all with something to ask thrillingly of the world today. They will include new works from multi-award winner Roy Williams (Death of England), Liverpool based Playwright Chloe Moss (Corrina, Corrina) and Aj Yi (A Playlist for the Revolution) who will develop a new piece based on The Ballad of Mulan, co-commissioned by New Earth. They join artists Johnny Flynn & Robert MacFarlane, James Graham, Sami Ibrahim, Charlie Josephine, Eve Leigh, Cordelia Lynn, Morgan Lloyd Malcom, Winsome Pinnock, Rhashan Stone, Joel Tan and Amanda Wilkin who are currently under commission with the company. To support these new anniversary commissions Headlong has today launched their 50th anniversary fundraising campaign, which will aim to raise £50,000 as the organisation continues to search for the new, thrilling, relevant stories that will become the classics of tomorrow. More information on the campaign can be found at headlong.co.uk/donate.

Holly Race Roughan, Artistic Director of Headlong added:

“This moment sees Headlong continuing its mission to tour high quality main stage drama nationally. I’m excited to be forging such strong national partnerships in our 50th year, which will put us in the best possible position to create and distribute innovative thrilling theatre throughout the country for the next fifty. These are exactly the ambitious, imaginative and community alert allies to step into the future with.

“For Headlong, there was no other way to mark our 50th year than by investing in new work. Five new plays will be commissioned from early-career artists and well-known names as we seek to create tomorrow’s classics.”

“Championing living writers to tell the stories of our time has never been more urgent but the funding landscape has been decimated. Our 50th fundraising campaign ensures our commissions are future-proofed so we can confidently champion the best new plays without worrying about the budget”

Headlong creates and distributes bold, world-class drama firmly rooted in the immediate questions of our time to audiences throughout the UK. To begin the 2024 season, Headlong in a co-production with Chichester Festival Theatre presented The House Party by writer Laura Lomas produced in association with Frantic Assembly and directed by Holly Race Roughan. Their production of People, Places and Things in collaboration with the National Theatre is currently playing a smash-hit season in London’s West End. A fresh new staging of A Raisin in the Sun by director Tinuke Craig will play in nationwide venues  from 13 September 2024 in a Headlong, Leeds Playhouse, Lyric Hammersmith Theatre and Nottingham Playhouse production, also visiting Oxford Playhouse. Artistic Director Holly Race Roughan will direct the Royal Shakespeare Company’s world premiere of acclaimed playwright David Edgar’s major new political play The New Real produced in association with Headlong at the RSC’s The Other Place playing in October and November 2024.  Next year Headlong will reunite with Shakespeare’s Globe following their critically acclaimed touring production of Henry V, directed by Holly Race Roughan.

Kate McGrath, Artistic Director and Co-CEO of independent producing company FUEL has joined the Cultural Programme as a Visiting Fellow.

This news coincides with the start of a programme to celebrate 20 years of FUEL; a celebration of everything that has been achieved as well as a statement of intent for the future, including new work from Khalid Abdalla, Toby Olié and Melanie Wilson.

Producing new work, as well as supporting the development of work and artists’ careers has always been at the heart of what FUEL does and this programme fulfils those aims with multiple new projects as well as ambitious and ground-breaking work designed to provide real and significant support to artists as they create new work and develop their skills.

The past is celebrated too, with a brand new podcast from Kate in which she takes a look back over 20 years of producing and examines how things have changed. Through interviews with a range of collaborators she is able to present a unique and important perspective on the development of the sector of two decades.

Alongside the podcast, FUEL has announced that Queen Mary University London is acquiring its 20 year archive with help from major grants from the National Lottery Heritage Fund and the National Archives. This remarkable and invaluable set of resources will be available to the public for the first time.

Kate McGrath said: “To my surprise and delight, it’s Fuel’s 20th birthday. You would expect that over 20 years doing this, that the process would be getting easier, with more positive results, more respect and a more resource. But, whilst I am thankful every day for the many blessings in my professional life, and mindful of how much harder it is for so many others, especially those who continue to be marginalised by structural inequalities, many days at work are incomparably harder now than they were 20 years ago. The impact of the cost of living crisis and cuts in social welfare on our audiences, participants, artists and colleagues; the legacy of the pandemic on our resources, human and financial; the imbalance between rising costs and standstill or reduced funding; politically-motivated culture wars and financially-motivated social media algorithms leading to implicit and explicit censorship of freedom of expression: all of these challenges directly affect our work every day.

And yet there is hope – and there are moments of joy and humanity. We are lucky to be alive. And at Fuel, we’re producers so we make things happen. This year, we’re celebrating our birthday with a season of work by exceptional artists who possess a combination of insight into the world, and the ability through whatever their chosen form to share that insight with audiences in a way that creates wonder, empathy and the potential for change in how we think and feel about each other and the world we live in. Khalid Abdalla’s debut play is as beautiful and profound as you would expect from an artist and activist of his integrity and ability. Toby Olie and Ross Collins are creating a delightful puppetry performance about a Bear and Mouse resolving their differences. Melanie Wilson invites us to reimagine our relationship with animals amidst the ecological emergency in a sound experience which will linger with you. And this is just the beginning. We hope you’ll join our celebrations throughout this very special year.”

Following their award-winning production of Metamorphosis (London, New York, Sky TV), director-choreographer Arthur Pita reunited with dance virtuoso Edward Watson and composer-musician extraordinaire Frank Moon, this time welcoming the renowned rebel chanteuse Meow Meow.

Produced by the Cultural Programme in association with The Royal Ballet and the Oxford Kafka Research Centre, A Hunger Artist delved into Kafka’s final and seminal work seamlessly intertwining dance, song, and intrigue into an enthralling, immersive spectacle.

Confined within a locked, straw-lined cage, Watson immersed himself in the role of the ‘Hunger Artist,’. From appearing as a sideshow fairground attraction to displaying his own inner torture through dance, he was ably assisted by the bewitching Meow Meow who took command of the stage as the audacious ‘Impresario,’. Part publicist, part muse, part sexual obsession and finally part nurse, Meow directed the audience attention towards Watson’s impressive physical presence and haunting appearance whilst generating a bewitching energy of show and tell.

Meanwhile, Frank Moon’s eclectic score surrounded the audience, pulling them deeper into the experience with every breath.

These visionary artists injected new life into Kafka’s haunting and obscure narrative, exploring sacrifice, obsession, and the relentless pursuit of artistry.

Those who were lucky enough to grab a ticket to last week’s wonderful performance by Kaleidoscope Chamber Collective were in for a real Kafkaesque treat.

The concert formed part of a programme of University-wide events and activities celebrating the literary works and enduring global legacy of Franz Kafka and marks the centenary anniversary of the author’s untimely death. Prior to the performance, Professor Carolin Duttlinger, Co-Director of the Oxford Kafka Research Centre, gave a talk about Kafka’s deeply ambivalent relationship with music, which is expressed in both his personal and his literary writings. She traced his fascination with cabaret to his later engagement with Mahler.

The revised programme featured Beethoven’s String Quintet in C Major, Op 29, as Francesca Chiejina (soprano) was unable to perform due to ill health. This was a welcome addition to start the evening as it is Beethoven’s only full-scale, original composition in the string quintet genre, which was performed brilliantly and with much gusto by the musicians which featured Elena Urioste and Savitiri Grier on violin, Juan-Miguel Hernandez and Edgar Francis on viola and Laura van der Heijden on the cello.

The richly expressive programme explored themes of metamorphosis and transformation through two of the most thrilling chamber works in the repertoire: Schoenberg’s Verklärte Nacht is an impassioned depiction of a couple whose lives are transfigured as they walk through the night, while Richard Strauss’s Metamorphosen (in its string septet version) is a heart-rending reaction against the destruction of European culture and heritage in the Second World War.

While most of the programme consisted of relatively youthful works, Richard Strauss wrote Metamorphosen in his 80’s, during the final months of the Second World War. Haunted by the destruction of irreplaceable buildings and art in the war, Strauss saw Metamorphosen as an elegy for all that he cherished in German culture. The performers thoroughly embraced the sombre overtones and emotional gravity of the piece and were joined by Tony Rymer on cello and Philip Nelson on double bass, which resulted in a rousing response from the audience.

Following the interval, Arnold Schoenberg’s iconic Verklärte Nacht (Transfigured Night) opened darkly and mournfully, taking the audience on a wildly veering journey as its musical motifs of a man and woman walking when she confesses she is bearing a child ‘and not by you’ then ends in hope and transcendence. A truly thrilling finale to an impassioned and exhilarating performance from the Kaleidoscope Chamber Collective.

Don’t miss Kaleidoscope’s next performance as part of the Oxford International Song Festival in October 2024.

Come and Join Us!

There will be a one-day Community Event in Blackbird Leys Park on 28 July 2024

This is an opportunity for everyone to come together, have fun and share our hopes for the Leys community.

Members of the Leys community and Oxford University have been exploring together ways to provide creative opportunities that respond to the needs and interests of the Leys community. We have been working together since March 2024, to build long term collaborations, and we’re excited to bring even more community members in.

We are looking for people from the Leys to be involved in planning the event and to take part on the day in the following areas:

• Music – we want to hear from local musicians, bands, and anyone who might be able to run a music workshop
• Food – we want to make sure the food on offer represents all of the communities and traditions in The Leys – we may be able to support you if this is your first time making food for a festival.
• Spoken word – we are looking for experienced artists but also first-time writers/poets/performers.  If you have any ideas please get in touch 
• Murals – we are looking for graffiti artists, mural and street artists 
• Building bridges – we are looking for people or groups who could help build temporary decorative bridges along the stream in Blackbird Leys Park
• Remembering/celebrating people who have made a difference in the Leys – to build on the memory garden in the park we are looking for visual artists to help make memory trees, and groups or individuals who could help us gather and tell stories of the history of the Leys
• Football – we want to organise a mini, friendly tournament, so we want to hear from local football coaches and organisers
• Dance – we’d love to hear from local dance groups – all kinds of dance welcome.
• Anything else – do get in touch if you’ve a creative idea we haven’t mentioned here!

If you are interested please email members of the Leys community at leyscommunityevent@gmail.com with your name, contact details and just tell us what you would like to do. You can also fill out the form here.

If you would like to be involved in the planning group, it meets fortnightly at Activate Learning, City of Oxford College, Cuddesdon Way, Oxford, OX4 6HN from 6-8pm.

The next meetings are on 30 May, 13 June, 27 June, 11 July and 25 July and food will be provided. Please let us know if you would like to join via email so that we know numbers for food and any allergies. If you can’t come to the meetings, email and we will contact you so that you can still be involved.

Director-choreographer Arthur Pita reunites with dance virtuoso Edward Watson and composer-musician extraordinaire Frank Moon, this time welcoming the renowned rebel chanteuse Meow Meow for a new adaptation and world premiere of Franz Kafka’s A Hunger Artist at the Old Fire Station, Oxford.  The show has a limited run from 3 to 5 June.

Produced by the Cultural Programme in association with The Royal Ballet and the Oxford Kafka Research Centre, A Hunger Artist delves into Kafka’s final and seminal work seamlessly intertwining dance, song, and intrigue into an enthralling, immersive spectacle.

Confined within a locked, straw-lined cage, Watson immerses himself in the role of the ‘Hunger Artist,’ enduring fasts lasting up to forty days. The bewitching Meow Meow takes command of the stage as the audacious ‘Impresario,’ meanwhile, Frank Moon’s eclectic score surrounds the audience, pulling them deeper into the experience with every breath. These visionary artists inject new life into Kafka’s haunting and obscure narrative, exploring sacrifice, obsession, and the relentless pursuit of artistry.

Arthur Pita has choreographed for prominent ballet companies and ballet stars across the globe. His extraordinary work has received many awards, including a Sky Arts Award for Dance and the Critics Circle Award for his previous collaboration, Metamorphosis, with Ed and Frank.

Edward Watson is known as one of the world’s most distinctive male dancers of his generation and has had more roles created on him than any other dancer in The Royal Ballet. He has had an astonishing career, winning Best Male Dancer at the Critics Circle National Dance Awards in 2001, 2008 and 2022, an Olivier Award for Outstanding Achievement in Dance in 2012 for his performance as Gregor Samsa in Arthur Pita’s Metamorphosis, and the Prix Benois de la Danse in 2015 for his performance in Christopher Wheeldon’s The Winter’s Tale.

Post-postmodern diva, Meow Meow, was named one of the “Top Performers of the Year” by The New Yorker and has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons across the world. This is her first collaboration with Arthur, Edward and Frank which she refers to as ‘pure joy and excitement’ (MM to confirm)

Multi-instrumentalist and composer Frank Moon has produced scores for dance and theatre that have been performed across the world. In 2021 he was nominated for Outstanding Creative Contribution at the Critic’s Circle National Dance Awards, for his scores for dance

Arthur Pita adds:

“I am thrilled to be immersed in the world of Kafka once again, as we prepare for the premiere of ‘A Hunger Artist.’ This collaboration with an incredible team is a testament to the enduring power of Kafka’s work and the endless possibilities it offers for artistic exploration. We are excited to share this fascinating story, Kafka’s final one, which he finalised in his last days, as we premiere on the 3rd of June, the day of his death. We are also honoured to be a part of Oxford Kafka 2024, a beautiful homage to Kafka’s continued legacy.”

Following the limited run, there are plans to develop the show for a London transfer and tour.

A Hunger Artist’ is a short story by Kafka and was one of the last stories he prepared for publication in 1922. This exclusive performance is produced by the Cultural Programme, The Royal Ballet and the Oxford Kafka Research Centre, and forms part of the centenary celebrations for the writer organised by the ‘Kafka’s Transformative Communities’ project from the Kafka Research Centre: #OxfordKafka24.

Supported by The Abderrahim Crickmay Charitable Settlement, The Arts and Humanities Research Council, TORCH (The Oxford Research Centre in the Humanities), HEIF (Higher Education Innovation Fund), and the New College Ludwig Fund.

 

Giant bug installation from award-winning theatre makers Trigger to host free creative programme for all ages. 

Joint initiative involving University of Oxford academics to celebrate the works of Kafka and bring to a wider audience. 

Visitors to University Parks this Spring should be persuaded not to apply more insect repellent as a gigantic half-man half-insect lands from 31 May – 2 June. 

Created and presented by award-winning producers Trigger (The Hatchling / PoliNations), in collaboration with The Cultural Programme, the ‘Jitterbug’ is an enormous 14 metre inflatable bug tent which will be the setting for a free programme of activities with workshops and events for all ages. From talks, yoga and crafting to storytelling hosted by the Story Museum and a drag cabaret extravaganza in the evening, the event also features a brand-new collaboration between Oxford-based MC Rawz and aerialist Julia Sparkle.  

Celebrating Franz Kafka’s work ‘Metamorphosis’ the concept for the ‘Jitterbug’ was created in conjunction with academics from the University of Oxford, some of whom will be appearing at the event. It is designed to highlight the importance of recognising beauty from within a person and forms part of the centenary celebrations for the writer, part of the ‘Kafka’s Transformative Communities’ project from the Kafka Research Centre: #OxfordKafka24. 

Booking is now open for all workshops. Please visit: oxfordculturalprogramme.org.uk/event/jitterbug 

Some of the key highlights include: 

Friday 31 May: Oxford-based The Story Museum will take over the Jitterbug tent for storytelling and crafting during the day.  

At 8pm there will be a special evening performance by international superstar, Meow Meow, who will grace the audience with some of her trademark Kafkaesque musical mayhem. (Tickets priced at £10). 

Saturday 1 June: A Bugify me workshop transforming old clothes into new during the day will be followed by ‘Cabaret at the Jitterbug’ in the evening with a performance by Dragademia. ‘Chrysalis’ will also be performed by esteemed local artists and University of Oxford fellow, Rawz and aerialist Julia Sparkle.  

Sunday 2 June:  Meet some special buggy guests on an insect adventure, followed by an engaging panel discussion delving into the world of insects and their pivotal role in shaping the future. 

John Fulljames, Director of the Humanities Cultural programme, says: 

“We can’t wait to welcome people from across the city and beyond to the Jitterbug events which should be a lot of fun and bring Kafka’s world to life”  

Angie Bual, Creative Director of Trigger says: 

“We are so excited to bring our extraordinary and fantastical Jitterbug to the people of Oxford. There really will be something for everyone! From early morning yoga sessions to creative writing sessions, opportunities to get up close and personal with bugs and let loose at our evening cabaret. We’re thrilled to have collaborated with The Cultural Programme to present this colourful celebration of transformation and discovery. See you in the bug!” 

The Jitterbug is conceived by Creative Director Angie Bual (Trigger), designed by world class designer Carl Robertshaw (Kylie Minogue, Stranger Things) and is fabricated by Studio Souffle.   

The Cultural Programme at the University of Oxford was set up to deliver world-class arts and culture from around the world in preparation for the opening of Oxford’s new Schwarzman Centre, a state-of-the-art academic, exhibition and performance space, due to open in 2025.  

The Stephen A. Schwarzman Centre for the Humanities celebrated reaching a new milestone this week.

The Centre, which began construction in January 2023, has reached its highest point and was commemorated with a topping out ceremony.

The event began with an afternoon of cultural activities produced and promoted by the University’s Cultural Programme and included performances from the Castalian String Quartet, Quartet in Residence at the Faculty of Music and from the Oxford Gamelan Society.

The festivities ended with the symbolic placement of a yew branch taken from a 379-year-old yew tree from the University’s Botanic Gardens. Professor William Whyte, Senior Responsible Owner, said: ‘Planted by the first Curator of Oxford’s Botanic Garden, Jacob Bobart, it is the oldest plant in the collection and binds the Stephen A. Schwarzman Centre for the Humanities into the long history of the University, as well as the long-standing tradition of topping out.’

The Stephen A. Schwarzman Centre for the Humanities will house together Oxford’s Faculties of English, History, Linguistics, Philology & Phonetics, Medieval & Modern Languages, Music, Philosophy, and Theology & Religion in a space designed to encourage experiential learning and bold experimentation through cross-disciplinary and collaborative study.

Vice-Chancellor, Professor Irene Tracey, said: ‘I am thrilled to celebrate this milestone in the construction of the Stephen A. Schwarzman Centre for the Humanities. Buildings need to be inspirational if we’re to create spaces that enable our staff and students to fulfil their potential and do ground-breaking teaching and research. We are incredibly grateful to Stephen Schwarzman for his generous support for the Humanities, underpinning our commitment to continued excellence in this crucial area of study, and I look forward to seeing this space buzzing with students, staff and members of the community when it opens next year.’

Head of Humanities, Professor Dan Grimley, said: ‘It is inspiring to celebrate this landmark in the creation of the Stephen A. Schwarzman Centre for the Humanities. When it opens in Autumn 2025, the Centre will be a beacon for the arts and humanities in the Oxford region, nationally, and beyond. It will welcome a diverse community of students, teachers, researchers, creative artists, and members of the public. We are indebted to Stephen A. Schwarzman for his generosity, vision, and his far-sighted support.’

The project, delivered by Laing O’Rourke, is the single largest building project the University has undertaken and will include a 500-seat concert hall, theatre, the Black Box experimental performance space, cinema, exhibition hall, the Bate Collection of Musical Instruments, café and gardens.

Deputy Head of Capital Projects, Jennifer Makkreel, said: ‘The University has worked to deliver buildings with Laing O’Rourke for over 20 years and it is wonderful to be topping out our 12th building together. Reaching this milestone on time and to the environmental and acoustic quality standards has been an impressive achievement for the team.’

A multidisciplinary artist residency exploring the potential of immersive art and technology to interrogate our notions of reality and consciousness

7 May 2024 : Mediale is delighted to announce the six creatives commissioned for Immersive Assembly Vol 4: Dreams & Echoes (IA4), their early career digital artists and creators development programme, supported by the Cultural Programme at The Stephen A. Schwarzman Centre for the Humanities, University of Oxford, and the Cheng Kar Shun Digital Hub at Jesus College, Oxford, a dynamic new space dedicated to exploring the latest advances in digital technologies.

Over five months, the programme will support the 2024 cohort to collaborate and develop projects inspired by the theme ‘Dreams & Echoes’. Working alongside a dedicated University of Oxford academic research partner, each creative will explore the potential of immersive media in interrogating our perception of consciousness and enabling new interpretations of ‘reality’ now and in the future.

As our understanding of consciousness evolves beyond human thinking, IA4 will provide participants with the opportunity to draw on the University’s world-leading research to explore areas such as neuroscience, mental health and medical science expertise, as well as cutting edge AI and ethics research, and globally leading immersive art.

John Fulljames, Director, Cultural Programme, says: ”This open call has seen a record number of applicants wanting to create new, innovative work with Mediale.  We are delighted they will be working in partnership with researchers at Oxford University to develop new digital experiences.  It was great to see so much talent and so many brilliant artistic ideas and exciting to think that some of these artists may in time make and present work in the Schwarzman Centre, Oxford’s new home for the humanities.”

Dr Janina Schupp, Curator, Cheng Kar Shun Digital Hub, says: “We are thrilled to welcome such a wonderful artist cohort, and our partners, to the Digital Hub at Jesus College, Oxford. The applications received already show the incredible potential of immersive media in creative practice, which will now be infused with cutting-edge academic research to generate unique creative discussions between artists and academics. We look forward to exhibiting the “Dreams and Echoes” generated through this stimulating collaboration.”

The six UK-based creatives comprising the 2024 IA4 cohort are:

1. Vicky Clarke (Manchester) – a sound and electronic media artist whose work explores materiality, electrical phenomena and ritual. Working with sound sculpture, DIY electronics and human-machine systems, she explores our relationship to technology considering themes of human agency in autonomous systems, post-industrialisation and the techno-emotional states we experience through these networked interactions. Her work takes the form of composition and live AV performance, DIY machines & sculpture, digital art & research.

2. Michelle Collier (Manchester)-a writer, artist and digital maker fascinated by why and how we tell stories – from ancient myth to modern lore, and everything in between. What do these stories say about us, our identities, our fears? How might we use stories to conjure new worlds? Michelle’s work spans illustration, print, games, immersive, digital art, XR, video, short fiction, experimental poetry and more.  

3. Chipo Mapondera (Margate) -a creative technologist exploring alternative realities rooted in Zimbabwean traditional cultures. Her work seeks to expand XR narratives and audiences, and to diversify cultural information, creating virtual worlds depicting multi-layered Afrofuturistic dreamscapes. Chipo is the founder of Global Digital Futures, the platform for cutting edge conversations on digital media and technology in the Global South.

4. Jazmin Morris (Leeds) – a creative computing artist and educator, Jazmin’s practice and research explore representation and inclusivity within technology. She uses free and open-source tools to create digital experiences that highlight issues surrounding gender, race and power, focusing on the complexities of simulating culture and identity. Her work spans across a range of digital media with audience participation often a key part of her experiences.

5. Alysha Nelson (London) – a multidisciplinary artist specialising in immersive performance and live art, exploring themes of cultural heritage, climate resilience, post-colonialism, and perception. Her practice encompasses theatre, visual art, virtual and augmented reality often using immersive technologies to champion and preserve marginalised histories and voices. She has collaborated with renowned VR & AR studios, arts, cultural, and educational institutes, democratising nascent technologies through affordable, accessible installations and immersive experiences for the general public.

6. Chris Tegho (London) – a machine learning engineer with a focus on computer vision, language modelling, and generative models. Chris is particularly interested in the intersection of art and machine learning, exploring themes of multiplicity, relations to others, queer experiences of belonging, and movement. Recent collaborations include work with artist Zach Blas for the Berlin Biennale, which utilised diffusion models to synthesise video, and an installation commissioned by Arebyte Gallery, London and Secession, Austria, featuring text generation and addressing AI religiosity in the tech industry.

Tom Higham, Creative Director, Mediale says: “We’re so excited to be launching IA4 in collaboration with the Cultural Programme at the Schwarzman Centre, University of Oxford, and the Cheng Kar Shun Digital Hub at Jesus College, Oxford. The unparalleled research and academic expertise the artists have access to this year will no doubt result in some wonderful projects. Having received over 200 applications for this year’s programme, the standard keeps going up. The need, energy and momentum around well-designed talent development opportunities in digital art is impossible to ignore.”  

The residency will conclude in November 2024 with a public showcase of three new immersive project prototypes developed by the cohort.

Learn more about Immersive Assembly Vol. 4  HERE

A range of spectacular events are set to take place at venues across Oxford during May and June celebrating the literary works and global legacy of the writer, Franz Kafka 100 years after his death.

The Cultural Programme, part of the Humanities Division at the University of Oxford, will be hosting three events encouraging people in and around Oxford to connect with artists, performers and creatives as part of the centenary celebrations organised by the University: #OxfordKafka24.

Following two previous sold-out performances, Kaleidoscope Chamber Collective will perform a new concert, ‘Transfigured’, at The Sheldonian Theatre on Friday 24 May. Exploring themes of metamorphosis and transformations in two of the most thrilling works in the repertoire, their richly expressive programme will feature fast-rising star soprano Francesca Chiejina.

From 31 May to 2 June, University Park will be taken over by ‘Jitterbug’, an incredible and enormous inflatable bug tent from award-winning artists, Trigger. Celebrating Kafka’s work ‘Metamorphosis’, a free programme of day-to-night creative activities will take place inside the insect, with workshops and events for all ages. From talks, yoga and crafting to storytelling hosted by the Story Museum, a drag cabaret extravaganza, and a brand-new collaboration between Oxford-based MC Rawz and aerialist Julia Sparkle. The programme will unfold within the epic Jitterbug structure, designed by the acclaimed Carl Robertshaw (Kylie Minogue, Stranger Things).

The Old Fire Station will host the world premiere of a dance/music theatre adaption of Franz Kafka’s ‘The Hunger Artist’ from 3 to 5 June. Choreographed and directed by celebrated choreographer Arthur Pita, the immersive dance ‘spectacle’ features dance virtuoso, Edward Watson, and the renowned rebel chanteuse, Meow Meow, with music composed and performed by long-standing collaborator, Frank Moon.

John Fulljames, Director of the Humanities Cultural programme, says:

“This is the latest in a series of extraordinary public shared experiences we are set to bring to Oxford. We want everyone to enjoy the benefits of art and culture and I’m grateful to the team and our partners for enabling us to bring some truly outstanding performances which I would encourage everyone to attend.”

In collaboration with the AHRC project ‘Kafka’s Transformative Communities‘, the #OxfordKafka24 campaign features a new free exhibition at the Bodleian’s Weston Library: ‘Kafka: Making of an Icon’ (30 May-27 October) and a University-wide series of academic and public events taking place across 2024 exploring Kafka’s global appeal. This will include a public reading of Metamorphosis in the Sheldon Theatre on 3 June, with leading literary figures, Oxford civic leaders, and student societies.

The Cultural Programme at the University of Oxford is building a programme of world-class arts and culture from around the globe in preparation for the opening of Oxford’s new Stephen A. Schwarzman Centre for the Humanities, a state-of-the-art academic, exhibition, and performance space, due to open in 2025.