Dear Applicant,
Please find enclosed an information pack to support the tendering process for
the freelance role of Producer: Touring and Development for Inbetween
Time Productions (IBTP).
IBTP is at an exciting moment in its history. The company, established in
November 2010, builds on the work of its founding director Helen Cole and the
huge acclaim and critical success of the Inbetween Time Festivals 2001,
2003, 2006 and 2010.
Helen Cole’s We See Fireworks is an ambitious production and viral
distribution project that has been developed by IBTP via modest commissions
and one-on-one encounters with audiences since 2009. Built entirely on
generative content, We See Fireworks, uses memory to uncover the essence
of contemporary liveness, starting with the premise that the idea of theatre is
essentially viral.
Across 9 international cities, we have gathered over 700 recordings, which
form the core material of the work. The recordings speak of powerfully
evocative memories of performances or strange performative moments.
Whispered by strangers, these words sear into our consciousness, to collapse
their memories into yours.
In April 2011, a hypersonic version was commissioned and premiered at the
Barbican, for the Spill Festival and toured. Each time it is presented the work
creates new opportunities for the public to add their voices, ensuring it
continues to evolve and gain interactive content. By the end of 2012 the
collection will consist of 1000 audio recordings resulting in podcasts,
pervasive encounters, on-line interactions, websites, blogs and publications.
This application pack includes:
● Details of Tender, Brief and Person Specification
● Guidance Notes for Applicants
● Application Form and Equal Opportunities Monitoring Form
● Background to Inbetween Time Productions, and We See Fireworks
We hope that this pack will help with any questions you might have about the
job and the application process. However, if you have any further queries
please contact me on helen.cole@inbetweentime.co.uk. We look forward to
receiving your application and thank you for your interest in Inbetween Time
Productions
Helen Cole, Director
Invitation To Tender
THE BRIEF:
Following the huge critical success of We See Fireworks by Helen Cole,
Director of Inbetween Time Productions, we have received exceptional
presenter interest the UK and internationally. As a result IBTP are
undertaking a pilot producing project to explore a way of working with
exemplary freelance producers to develop the opportunities and public impact
of IBTP programmes and projects into the future.
As the first of these pilot producer roles, we are seeking an exceptional
entrepreneurial individual to work alongside Inbetween Time Productions to
develop the potential and distribution of We See Fireworks through to 2013.
The Producer: Touring and Development is a freelance opportunity and the
successful candidate will be expected to work from their own home or office
base with regular face to face meetings in Bristol. IBTP offers a start up fee of
£5000 with an expectation that the producer will bring in additional resources
for this role as opportunities develop. The role will will enable the highest level
of achievement for We See Fireworks by developing impressive networks and
presentation opportunities for this work, effective project management, tour
booking and distribution, web presence, social media, publication and
development and delivery of spin off projects.
Title of Contract:
Fee:
Contract term:
Contractor:
Reports to:
Freelance Producer: Touring and Development
£5000 start up fee
From March 2012
Fixed Term Contract
Inbetween Time Productions
Helen Cole, Director, Inbetween Time Productions
BRIEF: FREELANCE PRODUCER: TOURING AND DEVELOPMENT
Purpose
To seek and develop continued touring and commissioning opportunities for
We See Fireworks through to 2013 resulting in increased revenue for IBTP
and additonal resourcing for the Producers future freelance fee.
Summary of Priorities
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To contribute to the future strategic and operational planning of We
See Fireworks.
To take lead responsibility for the development and delivery of new
touring and commissioning opportunities for We See Fireworks in
2012-13 in the UK and internationally including the chasing down of
existing expressions of interest and the development of new
opportunities for related spin off projects such as Scrolling Memory Box
and WSF film, publication and on-line projects.
To manage all touring obligations including contracting of
venues/festivals and the WSF freelance team of technical producer,
technicians, stewards, designers and artists.
To manage IBTP’s Freelance Technical Producer to ensure all touring
arrangements for transport/travel, accommodation, insurance,
permissions, site visits, venue hires, equipment hires etc.
To deliver project specific marketing including development of
promoters packs, project re-prints and press/media liaison.
To ensure clear communication, acting as the key liaison point for We
See Fireworks and undertaking all relevant administration relating to
the project including correspondence with contributors.
To contribute to We See Fireworks evaluative and reporting processes.
To represent We See Fireworks at key events or meetings with
presenters or stakeholders.
To contribute to financial management of We See Fireworks including
overseeing and reporting back on the project budget to IBTP’s Director
and General Manager.
To work with the General Manager to deliver the We See Fireworks
website content, developing traffic and maintaining regular updates and
communication through newsletters, twitter and facebook updates.
To contribute to IBTP reviews of this pilot producing role and the
achievements and outcomes of this freelance contract.
This list of priorities provides a basis on which to develop a rounded and
effective freelance contract and is not intended to be exhaustive.
PERSON SPECIFICATION
Essential Skills, Experience and Attributes:
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● Experience of tour development including exceptional knowledge and
profile within wide national/international contemporary performance
networks.
● Experience of tour management.
● Experience of managing project finances: confidence in using excel
and reporting processes.
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Excellent time management skills.
Experience of delivery of web content.
Strong and proven administrative skills.
An ability to self-manage and self-motivate.
A collaborative attitude and ability to work within a small, committed
team with people from a variety of walks of life and levels of authority.
Flexibility, commitment and the ability to multi-task.
Excellent written and oral communication skills.
Attention to detail and ability to work under pressure.
Strong IT skills in office based software, hardware and presentation.
At least 2 years experience of arts administration in a management
role.
A passion for the arts.
Desirable Skills, Experience and Attributes:
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● Experience of fundraising.
● Experience of reporting to funders on project evaluation.
● Leadership skills
Time frame
Application deadline : 26 Jan 2013
Shortlist devised and contacted: 30 Jan 2013
Interviews: 2 and 3 Feb 2013
Ideal Start date: mid March 2013
Guidance Notes for Applicants
The closing date for receipt of completed applications is 09.00 am on Thursday
26 January 2012. We regret that applications received after that time cannot be
considered.
Please send your completed applications to Inbetween Time to
anna@inbetweentime.co.uk.
Please note that the preferred format to receive applications is by e-mail.
Please insert APPLICATION FOR FREELANCE PRODUCER: TOURING
AND DEVELOPMENT as the subject.
Shortlisted candidates will be contacted by email and invited to an interview
on Thursday 9 February 2013 in Bristol.
Whilst we will work to accommodate every applicant, please do your best to
ensure you may be available for this date.
Unfortunately we are unable to acknowledge receipt of applications, so if you
have not heard from us within two weeks of the closing date please assume
that you have not been short listed in this instance.
APPLICATION FOR TENDER: FREELANCE PRODUCER: TOURING AND
DEVELOPMENT
Inbetween Time Productions is striving towards equal opportunities and
welcomes applications from all sections of the community.
PERSONAL DETAILS
Title:
Surname:
Other names:
Address:
Postcode:
Home telephone number:
Work telephone number:
Mobile telephone number:
E-mail address:
IF CURRENTLY EMPLOYED, CURRENT OR MOST RECENT
EMPLOYMENT (PAID OR UNPAID)
Name and address of Employer
Job title:
Date of appointment:
Period of notice required/Leaving date if
not now working:
Reason for leaving:
Please provide a brief outline of your
main responsibilities
PAST EMPLOYMENT
Please start with your most recent employment and continue on a separate
sheet if necessary
Date of
Contract or
Employment
From: To:
Name and Address of
Contractee or
Employer:
Job title and brief details of
main responsibilities:
Reason for
leaving:
EDUCATION
Date
obtained:
Name of school,
university, college etc:
Qualifications obtained:
PROFESSIONAL QUALIFICATIONS
Please start with the most recent qualification and include any currently being
pursued.
Date
obtained:
Name of school,
university, college etc:
Qualifications obtained:
SUPPORTING STATEMENT
Please write a separate statement answering the following questions:
1.
Why do you want to work with IBTP and We See Fireworks and take
on this tender? (300 words max)
2. In your opinion, what makes you the right candidate to fulfill this
contract? What experience do you have, what contacts do you bring and
what have you achieved in the past? (300 words max)
3. How do you propose delivering the tender, how would you spend the
budget, and what do you expect to have achieved at the end of this
process? (300 words max)
4. Please draw on your personal and work experience setting out how you
meet any additional priorities outlined in the priorities and person
specification. (300 words max)
REFEREES
Please provide details of two people, not related to you, who will provide an
employment reference for you. One of these must be your current or most
recent employer if you are not currently employed. The other should be a
referee who can express a professional opinion on your work and your ability
to perform the job for which you are applying.
Name of referee:
Name of referee:
Name of organisation:
Name of organisation:
Occupation:
Occupation:
Address:
Address:
Postcode:
Email:
Postcode:
Email:
Contact number:
Contact number:
Relationship to you:
Relationship to you:
May we request a reference
at any time
only after an offer of employment
May we request a reference
at any time
only after an offer of employment
Please provide details of any special arrangements you would require to
enable you to participate in our selection process effectively.
In order to comply with the Immigration Act 1996 we are required to see proof
of your right to work in the UK. This will be requested once an offer of
employment has been made. However, if you require a work permit in order
to work in the UK please indicate by ticking this box:
DECLARATION
To the best of my knowledge the information on the application form and
equal opportunities monitoring form is correct.
Signed:
Date:
EQUAL OPPORTUNITIES MONITORING FORM
In order to monitor the effectiveness of our equal opportunities practices we
need to collect information which might identify possible direct and indirect
barriers to employment. The information provided here is entirely confidential,
and is not part of any selection procedure.
Post applied for:
Please state how you found out about the job:
PERSONAL DETAILS
Name:
Date of Birth:
Gender (please tick)
Female:
Male:
CULTURAL DIVERSITY
Please tick the ethnic category that best represents you.
Do you consider yourself to be:
Black British
Black African
Black Caribbean
Any other Black background
Asian British
Pakistani
Indian
Bangladeshi
White British
Any other Asian background
White European (non British)
Chinese
Any other White Background
Any other Chinese
Background
Any other or mixed background
(please specify)
Do you consider yourself to have a disability?
Yes
No
If yes, please state the nature of your disability:
Background to Inbetween Time Productions
Inbetween Time Productions (IBTP) was established in 2009 as an
independent producing organisation that creates both the influential biennial
Inbetween Time Festival and extraordinary interdisciplinary projects across
Bristol and beyond.
Unencumbered by art form discipline, location or venue, IBTP leads artists
and audiences to do things they haven’t yet imagined. Our work is
characterised by a certain openness that means it demands an interaction,
implication or response. It is almost always live.
Critical Milestones
●
In 2009 Helen was awarded £280,000, a prestigious Paul Hamlyn
Foundation
Breatkthrough
Award
for
Exceptional
Cultural
Entrepreneurs to establish Inbetween Time Productions as a company
limited by guarantee with its own board of directors. This award
provides the seed funding for IBTP through to 2013.
●
In March 2010 the Arts Council awarded Inbetween Time Productions
£175,000 to realise the Inbetween Time Festival 2010 from 1
December – 6 February 2011.
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In July 2010, a freelance, interim post of Company Producer was
appointed to develop the company’s financial management and
operational systems. This post has been critically important in
establishing IBTP as a healthy and effective company so early on in its
history.
●
In December 2010-February 2011 we delivered the fourth Inbetween
Time Festival. IBT10 proved to be our most ambitious festival yet,
presenting over 100 works to strong critical acclaim and before an
impressive audience totaling approximately 47000 people working
across 17 partnerships, sites and artspaces in Bristol.
●
In March 2011, IBTP was awarded new NPO status by Arts Council
England from 2012-15: an impressive achievement for such a young
company and testament to IBTP’s clarity of vision, the strength of our
stakeholder support and history of past achievement.
●
In March 2011, IBTP was successful in its collaborative bid with Bristol
University, Exeter University and Arnolfini for approx £300,000 to the
AHRC for Performing Documents, a major research project for 201214.
●
In March 2011, IBTP was successful in its collaborative bid with Brut
Wien for £120,000 EU Cultural funding to support the site specific
touring project Up To Nature which will take place in June –September
2011 in the green spaces outside four European cities (Vienna, Kuopio
Finland, Oslo and Bristol).
●
In March 2011, Helen Cole received ACE G4A funding of £43,300 for
We See Fireworks. In April 2011 it premiered at the Barbican, London
for SPILL Festival to strong critical responses and before audiences
totalling over 700. WSF has since been presented in New York,
Manchester the Netherlands, Edinburgh Festival and the Australian
Theatre Forum, Brisbane, Australia.
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In early November 2011, IBTP received further Arts Council funding to
facilitate organisational and programme development during the
remaining interim year 2011-12.
IBTP’s Staff Structure and Board
The IBT Board is:
Helen Cole, Director
Polly Cole, Deputy Director, Oxford Playhouse
Katie Dulake, Freelance Marketing Consultant
Bill Gee, Freelance Producer, Producer of Milton Keynes Festival
IBTP is a small, committed core team including Helen Cole and a part-time
Assistant Producer, Jo Bannon.
The General Manager, Anna Rutherford is a new and critical member of the
ambitious team.
IBTP is also supported by a management consultancy contract with
Circomedia, offering senior management advise and leadership support
during this critical interim year.
At busy times of programme delivery, IBTP increases its team by employing
key freelancers including Associate Producers, Production Manager,
Technicians and Marketing Consultants. During IBT10 we employed a team
of 10 additional people.
WE SEE FIREWORKS
http://weseefireworks.blogspot.com/
‘(In) Helen Cole’s haunting, absorbing installation, We See Fireworks…..the
power of stories – secrets, in many cases – seizes you, makes you hungry for
more.... I’d love this to tour all around Scotland.’
Mary Brennan, Glasgow Herald
We See Fireworks has taken such an incredible journey from its earlier
manifestation as a small research commission by New Theatre Architects. It
now contains over 700 recordings from public and professional participants,
from the UK and internationally, speaking intimately and evocatively about
why performance is important to them. It contains the voices of the public
placed alongside many of the most respected internationally known
practitioners, each placed equally and anonymously along side the other. In
We See Fireworks, as people stumble for their words or struggle to evoke a
dearly held memory for the strangers that will later listen it is clear that
theatre, in all its guises, can leave the deepest and most lasting impact. To
date, We See Fireworks and its one-on-one encounter, Collecting Fireworks,
has been presented in London (twice), Manchester, Bristol (twice), Edinburgh,
Sydney, Melbourne, Brisbane, Vienna and Enschede, Netherlands in venues
as diverse as theatres, back stage rooms, museums, cloakrooms and old
schools attended by audiences totally over 2500. We See Fireworks
continues to attract considerable interest and we expect it to continue to tour
nationally and internationally through to 2013. Each time the installation is
shown, it will acquire new audio contributions to the collection evolving this
unique archive into an important resource and a rich body of material we will
continue to present to the public in a series of bespoke works in the future.
We See Fireworks has received impressive acclaim from critics, audiences,
and the artistic community. It is simple yet evocative, summing up why
audiences are driven to experience contemporary liveness in its many and
most exploded forms, and tapping into a reach seam of story-telling and mythmaking that audiences seem to revel in sharing.
We See Fireworks utilises beautiful arrays of flickering vintage light bulbs,
each bulb representing one whispered story from the archive to ask why we
are driven to seek real flesh on flesh encounters in a technologised age, to
locate theatre as essentially viral, a mutating and democratic form that exists
inside our own imaginations as much as any designated arts space, with the
power to be shared, to move and change long after its original moment of
manifestation has passed.
What is We See Fireworks
Built entirely on generative content, We See Fireworks is an immersive
installation and ever-evolving archive of audience voices.
Between 9-300 recordings fill a room lit by flickering light bulbs to reveal
powerfully evocative memories of performances or everyday occurances that
appear performative. Recorded over three years via one-on-one encounters
across international cities, these stories are whispered by strangers to sear
into our consciousness and collapse their memories into yours.
We See Fireworks begins with the premise that theatre is essentially viral,
happening anywhere and everywhere, lying dormant in our memory to be
reawakened by ordinary moments.
Voices speak of fairgrounds and ghost trains, lovers’ meetings and weird
encounters, fetish clubs, circus tents, school halls and foreshores.
Breathtaking spectacle unfolds in the face of failed productions, religious
ceremonies, accidents, big dance numbers and seminal gigs.
A man holds the hand of a performer and realizes he has not felt the physical
touch of another for 3 years.
A boy breaks into the Vienna Opera House, scaling the building to climb
through a door in the roof.
The recording process captures the essential essence of the process of
remembering. Whispering softly into the darkness, people tell of love, loss
and longing, fear, expectation and adolescence, spinning stories as if the
moment were still unfolding.
The stories remain as ‘true’ as possible, played out in beautiful, liminal
environment of flickering light. We See Fireworks asks whether we actually
have to be there to experience this thing called ‘theatre’. It proposes that an
experience of listening to someone else reliving an experience can be as
profound as actually being there. It asks whether we have to be wired-in
somehow, to become audience by our act of remembering all the past events
we have been part of making.
Running alongside the installation, we collect new stories in modest one-onone recording sessions with the audience adding new voices to the archive
and the installation as it transforms over time.
We See Fireworks: how, what, where
The work is presented in a variety of large, darkened spaces. It has taken
place in black box theatres with seating removed, galleries or large,
unconventional spaces. The minimum optimum size is 12 m x 12 m x 3.5 m
but this has also adapted. The work is at its heart site-specific, self-sufficient
and mobile in order that it can tour across a wide range of different types and
size of location including art and non-art spaces. Each voice is represented
by a single, flickering light bulb, functioning almost like a performer in the
darkness, or as a metaphor for the synapses of the memory firing and then
dying with the fading of the voice. In Collecting Fireworks, the one on one
installation, we used no more than 6 light bulbs, but in the full installation,
clusters of light bulbs ‘perform’ together totaling approximately 30. The
intimacy and intensity of the experience remains important and forms an
underlying tone to the immersive environment we create. Each individual
audience member feels as if the stories are being whispered only to them,
even though they may be in a room surrounded by other people. The
experience is intimate and immense, dense and fragile, beautiful and modest.
To achieve this atmosphere the Techncial Director, Alex Bradley has created
a shifting soundscape employing hypersonics, basic sounders and
quadraphonics to create multi-layered fields of sound. The audio is delivered
as the lightbulbs ignite and decay through a suite of performance memories.
This is repeated over 4 clusters of sound and light. The system for the
construction of the installation comprises vintage incandescent light bulbs,
theatre dimmers, architectural props and wire.
When new memories are gathered this takes place in modest one-on-one
recording sessions adjacent to the main space often in evocative dressing
rooms, cupboards or back stage areas surrounded by detritus using simple
light bulbs and focused sound recording. Permission is gained via a creative
commons license which enables us to share, edit and distribute the texts in
whatever way we wish into the future. This open-source, networked approach
and the resulting sense of shared ownership form animportant to the tone and
are part of the core concept of the work.