Category: Uncategorized

Tipping pointe: Bringing ballet back from the brink

Post author By nicandgeorgie2020
Post date November 13, 2020

Tipping pointe: Bringing ballet back from the brink

These are uncertain times for theatre and the performing arts, following a particularly punishing lockdown.

The initial impact of coronavirus on the ballet world was both swift and brutal. Schedules and performance were torn up. Practice and training were suspended. Dancers, the majority of whom are freelancers, fell between the furlough cracks and were left scrambling for government support. Theatres and companies were dealt a double blow. Firstly, the round of refunds for tickets which were often booked 18 months to two years in advance, which in turn drained the resources many were relying on until the funding was awarded for their next project. Performance pressure was replaced by anxiety for the future and fears of a lost generation of young dancers without companies to audition for.

Fast forward an applause-starved seven months and early October saw the Royal Ballet spring back to life with an evening of Covid-proof dance before a 400-strong audience. Less fortunate balletomanes who could not be in attendance were able to access the performance online via a live Vimeo feed and a post-performance pay-per-view recording.

On the night, meticulous testing, distancing and a strict “bubble” policy ensured that the dancers could perform the full choreography joyously unrestricted – enabling star turns from Anna Rose O’Sullivan and Marcelino Sambé in the Act II pas de deux from Frederick Ashton’s La fille mal gardeé.

Hailed as an optimistic, invigorating and successful selection of classics, the three hour performance made the future look suddenly brighter, with the dancers unleashing emotion and sharing their collective joy with an equally appreciative audience.

What the future holds for the performing arts, especially those with less profile and patronage than the Royal, remains to be seen. Can we realistically ask dancers to isolate for extended periods of time for our entertainment? Will audiences support pay-per-view and create a viable secondary source of income for theatres and companies alike. The future still remains worryingly opaque for dance.

29 October saw World Ballet Day – created to celebrate and support the global dance community. Following the triumphant return of the Royal Ballet’s Back on Stage review, hopefully the day can act as a beacon for how the dance world can start to successfully return to the stage.

That would be a very good day indeed.

Uncategorized

Hour of need: Philanthropy and the pandemic

Post author By nicandgeorgie2020
Post date November 13, 2020

Hour of need: Philanthropy and the pandemic

COVID-19’s decimation of sectors such as hospitality and the arts may have garnered more column inches, but the effect on charities has been equally brutal, with the sector currently facing a £10bn funding gap.

March saw UK charities facing a perfect storm – an unprecedented attack on every area of a charity’s income, coupled with increased demand and costs, which caused them to rapidly burn through reserves.

Amidst the Covid-19 pandemic, many charity shops have closed and fundraising events and activities have been cancelled. Many charities do not have the reserves to keep up with the demand for services. Approximately 6,000 charitable organisations had been forced to close by June of this year.

The sector desperately needs emergency funding for frontline charities and volunteers supporting the response to the coronavirus crisis, especially where they are alleviating pressure on the health service or providing support to people suffering from the economic and social impact of coronavirus.

The response to that need from the philanthropic sector has been as profound as it has been impressive. Some commentators feel it has been transformative in nature and has certainly shown the sector at its best.

What is striking about the pandemic response from individuals and institutions alike is threefold: the scale of the capital being committed, the speed with which it is being given – with fewer conditions; and the collaboration that is occurring to ensure the need is met.

From the deployment of fast crisis funding to support the launch of community-based rapid-response initiatives to meet specific need, to collaborative investment to fund vaccine development and medical advancement, philanthropy has been instrumental in addressing long and short term issues that have arisen from the pandemic.

It is safe to say there has never been a time in recent memory when we have been more collectively aware of the value of charity in our lives. This is a global pandemic that traverses all borders and socio-economic backgrounds. Its effect is deep and profound and shows no signs of diminishing. And while the philanthropic sector will not be able to support every charitable institution in dire need of support, the streamlined processes, partnerships and swift deployment of funding are enabling it to make tangible, positive change in response to the COVID-19 pandemic. And for that, it should be applauded.

Uncategorized

Undiscovered: The precarious position of graduate artists

Post author By nicandgeorgie2020
Post date November 13, 2020

Undiscovered: The precarious position of graduate artists

Following the unprecedented cancellation of art student graduation shows across the UK due to the COVID-19 restrictions, there has been a seismic shift in the way art is presented that may have far reaching effects on the procurement of modern art.

With swift lockdown measures executed across the UK, the forced move from shows in a physical space to virtual shows housed online was met with anger among many students, especially artists working in a medium that did not translate favourably into the new online format. Many felt that giving their art the platform it deserved could only be achieved by postponing the physical shows to a later date. A stance championed by the students at London’s Royal College of Art, who launched the petition entitled “No to the Virtual Show”, accumulated over 8,000 signatures.

The petition argues that physical degree shows provide a vital platforms for students working in non-digital mediums such as sculpture, painting or performance to present their final projects for assessment, as well as bringing them to the attention of the press, galleries and collectors.

“An art or design degree without a physical degree show is not an art and design degree,” said the petition. Equally importantly, if the art is not transferable meaningfully to online platforms, we could risk press, galleries and collectors leaving the next generation of art superstars undiscovered.

The show is a monumental moment for many students, where they sell their first piece of work, or receive their first commission. It is certainly true that students have missed out on amazing commissions, job opportunities and contacts.

Adding insult to injury, the loss of a physical degree show was coupled with the loss of physical studio or workshop space that meant many students had to complete works for their degree or masters in makeshift conditions. As college buildings closed, artists were forced to improvise in often unsuitable surroundings.

The last few months has seen a relaxing of the lockdown and a concerted effort, where possible, to provide a platform to showcase the work of this year’s slew of artists. Of note, the Saatchi Gallery reopened to the public on Thursday 03 September with ‘London Grads Now’. This thought-provoking exhibition showcased works by graduating students from London’s leading fine art schools including; Royal College of Art, UCL: Slade School of Art, Goldsmiths: University of London, UAL: Chelsea College of Arts, UAL: Wimbledon College of Arts, UAL: Camberwell College of Arts and UAL: Central Saint Martins. Through an incredibly collaborative effort, the showcase brought together, under one exhibition, over 150 graduating artists and more than 200 works.

Starved of exposure, this kind of activity is not only a lifeline for artists, it is crucial for the galleries and collectors who need new exciting works to invest in and benefit from.

What the immediate future brings is almost impossible to predict. And that, almost certainly, will leave many young artists fearing for their future. However, if the art world embraces new and collaborative ways of showcasing work sympathetic to the medium in which it was produced, we may well be on the cusp of a totally new way of celebrating young artistic talent and offering an opportunity to share their creations worldwide in a way that was not possible before. And that could be a very interesting future indeed.

Uncategorized

Class divide: The pandemic pressures on private schools

Post author By nicandgeorgie2020
Post date November 12, 2020

Class Divide: The pandemic pressures on private schools

The independent school sector is in a state of flux, facing acute challenges that have already seen well established names being forced to close their school gates for good. One such example, the 180-year-old Ashdown House Preparatory School in Sussex, is an alma mater of prime minister Boris Johnson.

Financially independent schools have faced three main challenges: the understandable reduction in the number of overseas pupils due to the pandemic and its restrictions, the fact that unfortunately some fee-paying parents have lost their jobs, and the decision taken by most governing boards to cut fees in the summer 2020 term. Many have held fees down in autumn 2020 as well. As costs faced by these schools were little reduced (the main cost being teaching staff, most of whom carried on working), the budgets of schools were badly hit. Some schools closed, others merged or were sold to investors.

However, it is important to note that many of the independent schools who closed were generally small and already facing financial difficulties. Most independent schools survived, although many had to cut costs. Many were even able to help parents with bursary support.

On the flipside, while overseas pupil numbers dwindled and some families were simply unable to continue with the financial commitment, many headteachers at private schools commented that they had seen an extraordinary surge in inquiries from “unhappy” parents of state school pupils, with several schools across the country reporting a 20-30% increase in demand for places.

By their very nature – smaller class sizes, access to technology, teacher availability – many independent schools were able to offer a full timetable during the initial lockdown which put their pupils at a greater advantage; with just 3% of state funded primary and 6% of state funded secondary schools managing to provide real-time virtual lessons for pupils. Parents, desperate to ensure that their children do not fall behind have been fuelling the demand – especially given the day-by-day changes to plans for students in regard to 2021 GCSEs and A-levels.

Therefore, as is the story across many sectors, there are those who have struggled to find funding and have closed and those who have thrived during these uncertain times.

And, if there is one lesson we have learned, it will be a while before we get back to anything resembling normality. As we embark on a second nationwide lockdown, teachers will have to cope with juggling teaching as normal with the possibility that tomorrow they may have to revert back to online lessons. The future is far from certain. What is certain is that independent schools offering first rate education through flexible channels, who embrace technology, who deliver clear communication and support to children and their families, and who adapt their resources to meet the challenges of pandemic restrictions, will thrive.

Uncategorized

Undented: The unexpected acceleration of the classic car market

Post author By nicandgeorgie2020
Post date November 10, 2020

Undented: The unexpected acceleration of the classic car market

As revealed by the latest UK Hagerty price guide – which has tracked more than 40,000 classic car values showing a total worth of £570m – the post-lockdown UK classic car market far from crashed. In fact, the guide shows the market is in a healthy state with well regarded enthusiast classics climbing upwards, especially at the sub-£100,000 level and the top of the market, above £1 million.

After its Covid-induced postponement, Gooding & Company’s first London auction took place on 5 September at Hampton Court Palace during the Concours of Elegance. From the world’s first production Land Rover and the second Ferrari 250 GTO built, to the Le Mans-winning Porsche 917K and not one but two McLaren F1 GTRs, the Concours of Elegance comprised an exemplary assembly of cars.

While only 15 cars were on offer, the sensational results included six world auction model records, two marque records and eight cars sold for over a million pounds, with a recorded average price per car of £2,432,064. One, a 1971 Lamborghini Miura SV Speciale, sold for £3.207m, almost £1.5m over the top UK Hagerty Price Guide value.

Without a doubt, the star of the auction was the highly publicised 1934 Bugatti Type 59 Sports, previously owned when new by King Leopold of Belgium which became the most valuable Bugatti ever sold at auction for £9,535,000 (over $10 Million US Dollars). The second of three Bugattis was met with resounding applause from Concours attendees when the beautifully preserved Type 35C Grand Prix sold for £3,935,000. The 1937 Bugatti Type 57S served as the grand finale for the collection, achieving £7,855,000. In total, the three Bugatti cars set new world auction records for the French marque’s respected models and accounted for over £21 million of the entire sale.

Unlike many other industries, data has shown that there is actually a noteworthy increase of market activity, especially when compared to 2019. Since classic cars are predominantly an emotional purchase, and given the emotional release of buyers re-emerging from a prolonged period of lockdown, perhaps it is not surprising that, according to data from auction results, statements from dealers, and anecdotal evidence from enthusiasts, the market for classic cars has proven remarkably resilient.

However, time will only tell whether the post-lockdown boom is sustainable. As the UK, along with a number of other countries, return to some form of lockdown and the headlines are concerned with second spikes and faltering Brexit negotiations, it remains to be seen whether the market will soften.

One thing is for sure – it will be a while until we return to bustling sale rooms and thrill of a live auction. With Bonham’s holding its Goodwood SpeedWeek sale at the hangar usually prepared as the Earl’s Court Motor Show on 17 October – minus the public – it was an eerily quiet occasion. Equally worrying was the fact that a number of outstanding cars failed to sell. Whether this is a sign of things to come, or a blip based on short-term economic uncertainty remains to be seen.

Tipping pointe: Bringing ballet back from the brink

Hour of need: Philanthropy and the pandemic

Undiscovered: The precarious position of graduate artists

Class Divide: The pandemic pressures on private schools

Undented: The unexpected acceleration of the classic car market

Let’s push things forward. Together.

© Copyright En Avant 2020. En Avant Limited is Registered in England and Wales at 55 Century Court, Woking, GU21 6DR No 12952545.