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Archive for November, 2020

Vacancy: Digital Engagement and Social Media Coordinator

We’re seeking a creative communicator and content creator to help us raise the profile of our programme for young people and emerging creatives.

30 – 37 hours a week
Salary scale: £23,046 – £24,968 depending on experience (pro-rata for 30 hours)

The Digital Engagement and Social Media Coordinator will support the delivery of KWMC’s young people’s programme, Jump Studios, by raising the profile of work and participants with key stakeholders across the city and across a variety of social media. You will be in charge of our social media strategy and external voice.

For full details of this new and exciting position in Knowle West Media Centre please read the job description here.

How to apply

Please read through the job description and write a covering letter (maximum of one page A4) detailing your interest in the role and how you meet the person specification, giving tangible examples. We would also like you to complete one of the tasks set out below. You can present this task in any way you like – we are looking for a creative approach!

Task (please pick one to focus on)

– Plan a social media campaign looking for new musicians in Bristol to take part in a Sound Wave Retreat in July 2021.

– We are looking to engage young people aged 10 – 16 in our after-school programme, Maker City. Plan a social media strategy to recruit new young people.

Send your covering letter, completed task and your CV (maximum length two pages) to Dot Baker at dorothy.baker@kwmc.org.uk

Please also complete the anonymous monitoring form here.

We are particularly keen to hear from applicants from demographics currently under represented across the creative industries including, Black, Asian and minority ethnic groups, all women and disabled people.

Apply now!

Deadline for applications: 9am, Monday 14 December 2020

Interviews will be held on: Wednesday 16 and Thursday 17 December 2020

Start date: Monday 11 January 2021 (or as soon as possible)


KWMC Recruitment Process

We welcome and encourage applications from those currently underrepresented in our workforce and in the arts community; particularly working class people, people of colour, Lesbian, Gay, Bisexual, and Transgender people, and disabled people (as defined by the Equality Act 2010). We are committed to managing a fair and equitable recruitment process.

We guarantee an interview for anyone who identifies as one or more of the above and fulfils the minimum requirements of the role. If you would like this to be a consideration in your application, please indicate in your submission.

If you have any access needs that require you to submit your application in another format, please get in touch so we can help you find a suitable option. All applications will be assessed according to the same criteria and submitting in a different format will not affect your chances of being selected.

For information about how we use your data to process your job application please see our Recruitment Privacy Policy

Access information for our buildings can be found here.

 

US musician supports KWMC with latest release

A US-based musician has selected Knowle West Media Centre as one of two charities that support young musicians to receive a donation of proceeds from his latest release.

Vexxe, from Ohio in the eastern USA, will split the proceeds from Pulse 5 between KWMC and Music Loves Ohio, a non-profit organisation providing opportunities for financially underserved youth in central Ohio to pursue their passion for music.

He explains: “everyone who was involved with the release viewed it as an opportunity to support local organisations working to make music accessible to underserved youth in our communities.

“While I am from Ohio, the record label [Circular Jaw] is based in Birmingham and the remix artists are from Bristol and London. We wanted to split the proceeds to create an impact in both local communities.

“We are thrilled to support KWMC’s dedication to uplifting people from diverse backgrounds to develop tools, skills, resources, and opportunities to achieve social change.”

Vexxe was introduced to KWMC by Matthew Bentley, a teacher at a local college.

He says: “I have known Matthew virtually for a few years. He was the mastering engineer behind this release and one half of production duo Spektralsound, who remixed Pulse 5. Matthew highly recommended KWMC and mentioned that KWMC took a few of his students on a wellness and song-writing retreat in nature.”

Vexxe describes the sound of Pulse 5 as ‘rhythmic, introspective music for the body and mind alike,’ taking inspiration from dance music including techno, breaks, and 2-step.

You can hear and support Vexxe’s latest release via the Circular Jaw Bandcamp and find out more about his music on his Facebook page, or search VexxeMusic on Twitter.

We’d like to thank Vexxe and the team at Circular Jaw for choosing to support KWMC and helping us continue our work supporting young musicians and communities across Bristol to explore their creativity.

If you have a business and would like to find out more about supporting KWMC please visit the Support page. You can also donate online via the link below

 

 

 

 

Vexxe would like to thank the remix artists Spektralsound (Matthew Bentley and Robin Matto), Hartta (Benji Kaarbanik) and Meta (Sean Gomez and Alex Blake), Andrew Gibbins and Sam Calcutt at Circular Jaw, and Steffan Corr for organising the remixes.

Vacancy: Project Coordinator We Can Make

We Can Make is seeking a Project Coordinator who is passionate about making community-led housing happen.

30 hours a week
£24,000 – £28,000 (pro rata) depending on experience

We Can Make is an innovative initiative in Knowle West, Bristol, that creates community-led homes at ‘point of need’ by unlocking micro-sites for development. We Can Make has a particular focus on digital design and fabrication as a way to empower communities and ensure more value from investment in new homes “sticks” and helps grow community wealth. As a community land trust, We Can Make is proud to be part of a growing movement of “people powered’ housing across the UK.

The Project Coordinator will work in a hands-on and creative way across the programme, including: co-design with local people; supporting the technical side of the planning and development process; capturing the social impact; and overall helping to ensure the smooth running of the programme.

The successful applicant will be a creative and values-driven individual who is committed to community and citizen-led development.

– You will have excellent communication, graphic and hands-on design skills, and an aptitude for working collaboratively with diverse communities.

– You will be able to engage with and help bring alive big ideas around the commons, community wealth building, and new forms of community-led housing.

– You will enjoy getting to grips with the fine detail and organisational processes of making things happen on time, on budget, and to an excellent standard.

We strongly encourage applications from those currently underrepresented in our workforce; particularly working-class people, people of colour, Lesbian, Gay, Bisexual, Transgender, and disabled people.

How to apply

Please read the We Can Make Project Coordinator Job Description and complete the Application Form.

Please also complete the online anonymous monitoring form here.

Completed applications should be sent to: gail.bevan@kwmc.org.uk

Deadline for applications: 12 noon, Monday 14 December 2020.

Interviews will be held on Friday 18 December 2020.


KWMC Recruitment Process

We welcome and encourage applications from those currently underrepresented in our workforce and in the arts community; particularly working class people, people of colour, Lesbian, Gay, Bisexual, and Transgender people, and disabled people (as defined by the Equality Act 2010). We are committed to managing a fair and equitable recruitment process.

We guarantee an interview for anyone who identifies as one or more of the above and fulfils the minimum requirements of the role. If you would like this to be a consideration in your application, please indicate in your submission.

If you have any access needs that require you to submit your application in another format, please get in touch so we can help you find a suitable option. All applications will be assessed according to the same criteria and submitting in a different format will not affect your chances of being selected.

For information about how we use your data to process your job application please see our Recruitment Privacy Policy

Access information for our buildings can be found here.

Vacancy: Finance Manager

We are looking to recruit a Finance Manager to ensure that KWMC achieves its ambitions and is financially resilient.

37 hours a week
Salary negotiable from £40,000

Knowle West Media Centre is looking to recruit an exciting key role within this growing cultural organisation. We are looking for a Finance Manager who shares our values that include equity, integrity, and collaboration, and can help ensure we achieve our ambitions and are financially resilient.

KWMC is engaged in a diverse range of activities ranging from supporting emerging creative talent and young people, to citizen led housing, and supporting people to learn about digital making and the circular economy. The Finance Manager will be key to ensuring that  sustainability is central to the development of the organisation and that KWMC will continue to grow and move proportionally towards a reduced dependency on grant funding, replaced by self-generated income.

This vacancy has arisen due to the growth of the organisation.  The existing postholder will be staying on in a part-time capacity, focusing on grant funding, and will be available to provide support when required.  The Finance Manager will be additionally supported by two finance officers.

For further information please read the overview and the job description.

How to apply

Please send a letter of application which addresses the job description and person specification in detail, giving examples where relevant.  The letter should be accompanied by your CV.

Email your letter and CV to Michaela Macrae Simpson at: michaela@kwmc.org.uk

Please also complete the anonymous monitoring form here.

The closing date for applications has been extended to 9am, Wednesday 25 November 2020.

Interviews are expected to take place the following week online.
We would like the successful candidate to start as soon as possible.

We politely request no contact from agencies or media sales.


KWMC Recruitment Process

We welcome and encourage applications from those currently underrepresented in our workforce and in the arts community; particularly working class people, people of colour, Lesbian, Gay, Bisexual, Transgender people, and disabled people (as defined by the Equality Act 2010). We are committed to managing a fair and equitable recruitment process.

We guarantee an interview for anyone who identifies as one or more of the above and fulfils the minimum requirements of the role. If you would like this to be a consideration in your application, please indicate in your submission.

If you have any access needs that require you to submit your proposal in another format, please get in touch so we can help you find a suitable option. All applications will be assessed according to the same criteria and submitting in a different format will not affect your chances of being selected.

For information about how we use your data to process your job application please see our Recruitment Privacy Policy

Access information for our buildings can be found here

The Data Says It All

We are delighted to share a new video work made by Richard Layzell especially for Knowle West Media Centre. It is a reflection on his work with us since 2010 and a poetic weaving together of his experiences of being in residency in the neighbourhood and working with members of the Knowle West community. It was made during the COVID-19 lockdown as a way to keep sharing his work with audiences.

Richard Layzell is an award-winning visual and performance artist based in London. He has completed several residencies with KWMC and regularly shows his work internationally.

Richard’s practice and ongoing collaboration with KWMC demonstrate the importance of artists who work within communities spending time immersing themselves in an area – building relationships, talking and listening, and understanding what’s important to people – and the impact that this immersion can have for both artists and community.

We are committed to supporting artists and communities to work together and will be developing new ‘slow residency’ strands in the coming years.

Thank you to Richard for sharing this film with us and for the inspiration, curiosity and generosity he continues to bring to Knowle West and KWMC.

Transcript: The Data Says it All – Richard Layzell

It all began in Shanghai one Saturday morning in 2009, when I stood for sixty minutes on the corner of Shilong Road, counting vehicles without exhaust pipes. These were bikes of all kinds and the occasional electric scooter. There were 2000 in that hour. I was keeping a record of this moment, to make an environmental comparison with the west, a comparison that would be very different today, now that the car has stepped up to take up its rightful place in an even more developed Chinese economy.

I had a bike, myself, to get around the square mile where I lived and worked in the south of the city. It was called Shuangzulong, which ironically translates as ‘bipedal’, because one of the pedals fell off the first time I used it. Anyway, this was data collected and when the Knowle West Media Centre advertised a project called Whose Data? a year later, I talked about this Shanghai experience in my application. And I remembered it when the work began. This time the counting happened in shops, the convenience stores of Knowle West. I stood close to the till, trying to be invisible, noting down the categories of what people bought, rather than the brands: soft drink, energy drink, booze, fags, tobacco, lottery, white bread, eggs, crisps, biscuits, milk, newspaper, Paypoint, sweets, pie, onion. I wasn’t aiming to be judgmental about their purchases, but when I read from these lists at a public event a few weeks later, a local councillor described this as significant research into cultural deprivation. Hmm.

I also looked at biodiversity, the range of other species living here, and I had Steve, the Media Centre’s then caretaker, as a special databank. I came to realise that his local knowledge of wildlife was embedded in him. I borrowed a sound recorder and met Steve just before dawn. He took me to the Wills Site, the Bommie, the Black Path, and the Horse Field. The birds were enough and he knew it. The dawn choruses were fantastical symphonies of competing soundscapes, natural and man-made. We stood in silence listening acutely to what was being recorded, trying not to cough or sneeze. In between recordings, Steve spoke guiltily about his boyhood experiences as a poacher, and with authority that this was a green corridor for birds and other creatures. From their perspective Knowle West is a rich source of food, cover and safety. Up here, the pattern of open land, housing and the many patches of green space are only interrupted by the major highway that is, Hartcliffe Way.

Still thinking about data I came back a year later with another idea, this time related to binary code. I would visit every street in Knowle West and photograph all the house numbers that contained a one or a zero or both. These were, obviously, numbers 1, 10, 11, 100, 101, 110 and 111. It took quite a while. The photos were then displayed side-by-side in the gallery, and all the residents of the featured houses were invited to a special event to find their number on the wall, with one lucky winner going away with a Morrison’s voucher for £50. It was a binary bonanza, a celebration of numerology, and a record of house number manufacturing over a 90-year period, and another unique view of this unique neighbourhood.

Then came the Artist Hotel project, joining in the research for the idea of imagining an artist hotel for Knowle West. Some of my research focused on hotels in London and the South East that branded themselves as ‘artistic’, including the Artist Residence Hotel in Brighton and the St Martins Lane Hotel in London. I tend to see hotel lobbies and foyers as semi-public spaces that can be occupied, and that’s what I did. I asked the price of a room. I wandered around to get the ambience, sometimes behaving on the edge of performance, to see how far I could go before being stopped. When it came to the presentation of my findings I’d not long been back from a visit to Ethiopia, where corrugated metal sheets are a base building material for many homes and shops, so I decided to include hammering on a piece of locally sourced corrugated steel as an antidote to the glamorous hotel culture that I’d been experiencing. Artists don’t need a swanky hotel. Nor does Knowle West.

The landscape of the place on the hill in Bristol BS4 is always with me. I’ve spent long enough to get under its surface and be inside its weather. I’ve walked those streets, all of them, seen the sun rise and set, explored the wilderness at the back of Greenfield School with the kids, been humbled by Steve’s instinctive knowledge, looked up and looked down, listened and watched… BS4 was even with me in the Alice Springs desert and the Montreal rain when I was working on my new ecological project called The Naming in 2018. As a part of this I came back to Bristol last year to explore the huge tidal range of the River Avon and the Bristol Channel, the second highest in the world, and the potential pollution in the Malago River, using a lo-fi method involving unbleached tampons and UV light. The results were not conclusive, but veered on the side of not polluted, which was great news.

This year I was further along with The Naming and keen to share my discoveries with the people of Knowle West. I wanted to give them a direct experience of ecology in an event called Not Green…. So, in January I spend a couple of days looking around and planning. Walking down the slope opposite the Park Centre in Daventry Road and into the trees, I’m surprised to find a flowing stream. This reminds me of Mardalsfossen waterfall in Norway, a place I’d been to the previous summer, to see the site of the first ever eco-action that was led by the philosopher Arne Naess, in 1970. It’s one of Northern Europe’s most spectacular waterfalls. This stream here is tiny, but the sight and sound of running water are enough to make the connection.

There’s an elegant mature tree in the garden of the old vicarage next to St Barnabas Church. It’s some kind of maple Jim thinks. As a tree expert, he explains that this tree has had regular pollarding. I only know about pruning and coppicing. He tells me that pollarding is to encourage growth and to keep a regular shape. I think of the lines of plane trees in London that have their limbs cut to stumps every year. I wonder what you call this? Mutilation perhaps.

In March, as the day approaches, the weather forecast is worrying. Expect heavy rain, hail and very strong winds. Although we’ve asked people to bring waterproof clothing, strong shoes and an umbrella, the wind will be almost gale force. This could be tricky. Time to rethink. I go back to the Park Centre, our meeting place, to look for ways to keep dry. There’s a neglected lobby tucked away, opposite the reception desk. It’s enclosed and quiet, and I’ll be able to play sounds and video here to the assembled group, at the start. Then I remember one of the main themes of my bigger project, about how the naming of other species can create a separation, as if identification is enough. ‘Oh look this is an oak tree, that’s a hedge sparrow, it’s in a hedge, can you hear the woodpecker, it’s pecking wood, that’s why it’s called a woodpecker, get it?’ So I decide to find another kind of name for some of the trees that live around the edge of the Park Centre complex.

So, we’ll start inside and then go inside/outside to the courtyard, to visit a silver birch tree surrounded by bricks, and then we’ll come back inside to go outside, where we can find the derelict pond once funded by the Princes Trust, and notice the savagely pruned trees at the end of some adjoining back gardens, hacked down without any respect for their feelings or dignity. This is not pollarding.

And now we go all the way outside. We move across Daventry Road to look at the well-shaped tree in the vicarage, and pass through the metal barrier and into the majesty of the Bommie. The rain has mainly kept off. But the wind is picking up. We carefully make our way down the steep grass slope with small sideways steps. Someone is wearing trainers and becomes mud-splattered in a flash as they slip. The rest of us arrive safely, to find the stream, still fast-flowing, and some trees of unknown species (aha!). I climb one of these as a gesture of connection, and to surprise the others. I suddenly feel that this is my land, where I belong. Down here it’s deep landscape, heavy with trees and the sound of running water, yet we’re only a few metres from a busy road. People chat and hang out, as if this is an achievement and a destination. I can see what they mean. Then the hail-rain arrives, lashed by the wind, and we climb back up the hill to the church, where Sam, the long-haired vicar with a nose ring, has thankfully already put the soup on the stove. Once we’re all inside he unlocks the door to the interior garden that no one knows about, except him… and me.

There was a time in the late 1920s, when the farmers sold their land to the council and put the money in the bank. It was theirs to sell. That’s how they saw it. And once (it was) sold they soon forgot about it and were not interested in seeing the houses and schools being built over the hillside where their animals used to graze. Or that it was now called Knowle West. They went on a lavish holiday with some of the proceeds, and wondered if they should have held out for more cash per acre.

With modern farming methods and the decline of hedgerows, those same fields would now be edge to edge, making it hard for wildlife and wildflowers to get a grip, not to mention the introduction of chemical fertilisers. So, up here, over these 90 years, the creation and the development of Knowle West BS4 has proved to be a huge bonus for Bristol’s biodiversity. It’s a thriving ecosystem and a green corridor that puts local farmland to shame. The data says it all.

Richard Layzell, July 2020

About Richard

Richard Layzell has been a leading innovator in the fields of live art, video and installation since the 1980s. He has been commissioned by most major public galleries and museums across the UK and completed many international artist residencies. As an experienced facilitator he’s led creative workshops with people of all ages and backgrounds internationally. He has pioneered socially engaged practice and worked with many diverse communities nationally and internationally. His interactive installation Tap Ruffle and Shave was experienced by 100,000 people of all ages and abilities on its UK tour to London, Manchester and Newcastle.

He is currently working on The Naming, a major action research project which challenges and questions how, through categorisation and naming, we distance ourselves from aspects of the natural world and the cultural world.

Richard Layzell is the author of Live Art in Schools, Enhanced Performance (ed. Deborah Levy) and Cream Pages (ed. Joshua Sofaer). He is an honorary associate of the National Review of Live Art and a course leader in fine art at University of the Arts London.

Supported using public funding by Arts Council England. Additionally supported by LUX and The Elephant Trust.

 

 

 

Contact Us

Knowle West Media Centre
Leinster Avenue
Knowle West
Bristol
BS4 1NL
+44 (0) 117 903 0444
enquiries@kwmc.org.uk

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