Cat Hope Pure for found object, orchestra and subtones (2014-16)
Devised by Kelly Lovelady
Performed by Ruthless Jabiru, Jeremy Barnett found object
Live recording by Apple & Biscuit
Originally posted at Meet the Artist:
Who or what inspired you to take up conducting and pursue a career in music?
Conducting felt inevitable for me as a teenager: a natural evolution despite my oblivion at the time to everything it would eventually entail! The realisation was unceremonious- not really a dream or desire but a moment of clarity. I was lucky to find my two conducting teachers in the years that followed and both continue to mentor me almost 18 years on.
Who or what have been the most important influences on your musical life and career?
I think my tastes and philosophies are largely the result of producing my own work. When you find yourself responsible for every detail you start to reconsider the possibilities. If your self Continue reading
Originally posted at Composers Edition:
London-based all-Australian chamber orchestra Ruthless Jabiru will perform Michael Cryne‘s ‘Slipstream’ in its world premiere this Sunday, 9 April 2017, as part of the closing performance of Joy & Dissent: a new festival of cultural Activism at Hackney Showroom. The programme, curated and conducted by the orchestra’s artistic director Kelly Lovelady, aims to call for London’s cultural organisations to go fossil funds free, and point out at the topic of fuel dependency and its ramifications for the soul of our world.
The orchestra’s programmes are devised around existing and commissioned repertoire by today’s composers with a view to promoting sustainability and ethical dialogue, and are dedicated to humanitarian stories. Other works include Julia Wolfe’s Fuel, Cat Hope’s Pure, Lamentation: Homage to Supply Belcher (1750-1836) from Symphony No.14 “Symphony in
Originally posted at BBC Radio London:
Author Dawn O’Porter chats about on her new novel, Kelly Lovelady discusses the demands of a female conductor and Annie Beckett talks about living with an alcoholic mother.
Originally posted at Musochat:
Host: Kelly Lovelady (@KellyLovelady)
How do we perpetuate our projects in austerity conditions? Should we dull our originality and politics to attract commercial branding and government grants? Fossil fuel companies are buying into our performance venues to bury their social and environmental crimes. Can the uprising towards an oil-free cultural sector start with us: the artists?
I’ve called a session on refuelling- ideas of powering, nourishing, sustaining ourselves, our projects, audiences and comrades #Musochat
— Kelly Lovelady (@KellyLovelady) March 20, 2017
Originally posted at Hackney Gazette:
Co-director of Hackney Showroom, Sam Curtis Lindsay, talks to Zoe Paskett about their second anniversary and a festival celebrating joyful protest.
So far, 2017 has been a year of protest: against Donald Trump, abortion bans, controversial speakers at universities, violence towards women, immigration – whichever side you fall on, the public are more engaged than they have been in recent years.
While some protests have been violent and some peaceful, many people are now trying to figure out how they would like to utilise their freshly galvanised political passion. “Can joy or beauty be ways of protesting rather than everything being painful or angry all the time?” asks Sam Curtis Lindsay.
Originally posted at Artisan Accounts:
As part of our endeavor to support International Women’s Day we begged some of our most inspiring female clients to contribute a blog, here Kelly Lovelady from the inimitable Ruthless Jabiru explores change and power.
It is a truth universally acknowledged that ye olde worlde of conducting is overwhelmingly male. The pride and prejudice of the orchestral podium is, to collate the many confounded observations I’ve collected over the years, a beaming anomaly even to those with little or no concert-going experience.
Gender biases in so-called “classical” music are ultimately borne of a performance ritual which reveres and respects its own history so deeply that it continues to perpetuate the quirks of concert culture as it stood in its infancy almost 200 years ago.
Originally posted at Hackney Showroom:
9 April | Showroom Big Space | 7pm | £16
Julia Wolfe Fuel
Michael Cryne Slipstream (World premiere)
Cat Hope Pure
Gloria Coates Lamentation: Homage to Supply Belcher (1750-1836) from Symphony No.14 “Symphony in Microtones”
Osvaldo Golijov Last Round
Ruthless Jabiru joins forces with Art Not Oil in a major performance event calling for London’s cultural organisations to go fossil funds free. Devised and conducted by Kelly Lovelady, Ruthless Jabiru will perform an industrial meditation around fuel dependency and its ramifications for the soul of our world.
We invite the listener into the beauty of non-verbal protest: the synchronised vision and Continue reading
Originally posted at RelevantNow :
London chamber orchestra Ruthless Jabiru will deliver the closing performance of Joy & Dissent: a festival of cultural Activism at Hackney Showroom from 27 March to 09 April 2017.
Ruthless Jabiru will join forces with Art Not Oil in a major performance event on 09 April calling for London’s artists and cultural organisations to aspire to an oil-free cultural sector by signing the fossil funds free commitment.
Devised and conducted by Kelly Lovelady, Ruthless Jabiru will perform an industrial meditation around fuel dependency and its ramifications for artistic authenticity and accountability in a programme for string orchestra by Julia Wolfe, Gloria Coates, Cat Hope, Continue reading
It is with regret that we have been forced to withdraw our performance Fuel from Tempting Failure 2016 due to a late change in circumstances in the funding of the project. This development was unrelated to our commitment to fossil-free culture through this programme, and has no bearing whatsoever on the heroic originality of the festival nor the strength and support of our Partners.
It is exactly these sorts of disappointments in the unstable financing of the arts sector which tempt us to push the ethics of our process down the agenda, but even in the context of public funding cuts it is crucial for arts organisations to decide independently and openly: what funding are we prepared to accept? What should we refuse? What are we happy for our funding to do in the world?
It is our responsibility as artists to examine the humanity and the democracy of our time, and to mirror in ourselves the truth and justice we seek through our creative work. Thanks to everyone for your interest in this project and in Ruthless Jabiru’s continuing vision.