So, here's the last sample of people's comments on the m a n i f e s t o for now. I hope you’ve enjoyed reading them, and that you know how to adjust your volume! Today see’s the thoughts of the President of the Society for Arts and Healthcare (SAH), Dr Gary Christenson, to whom, along with all those who've contributed, I’m incredibly grateful. Now it’s time to collate all the work together and publish part 2, which will be available far and wide.
People's Health Trust: Healthy Communities Small Grants Programme
This small grants programme makes awards of between £5,000 and £10,000 to local projects which help people live longer, healthier lives and address health inequalities. The Tust are particularly keen to support grassroots activities through their small grants programme, which is currently open in nine local society lottery areas. Funding will be available from other local society lotteries in the coming weeks and months, and local charities and community groups are urged to check the People's Health Trust's website for details. For more information, please visit www.peopleshealthtrust.org.uk
Arts Council England launches new fund
The Arts Council has launched a new £37 million fund to ensure more people living in places where levels of involvement are currently low, experience and are inspired by the arts. Over three years the fund will invest in around 15 programmes of activity that use radical new approaches to developing excellent, inspiring and sustainable arts experiences for communities not currently engaging with the arts.
The Arts Council has used the Active People survey to identify 71 areas of the country which fall into the lowest 20 per cent of arts engagement. Typically, grants of between £500,000 and £3 million will be invested in a number of these areas with the aim of increasing participation.
This programme is open to applications from any consortia that meet the eligibility criteria. All applications must be proposing work in one or more of the areas with the lowest 20 per cent of arts engagement as identified by the Arts Council.
There will be two funding rounds for applicants, with the first opening today. Interested consortia need to register their intention to apply with their regional office by 23 March 2012 with the closing date for the first round of applications 13 April 2012.
Excellence, both artistic and in engaging communities, will be at the heart of successful applications, with the Arts Council investing in programmes that encourage long term collaborations between local communities and arts organisations, museums, libraries and local authorities.
As well as increasing artistic participation in these areas, this investment will help the Arts Council learn about the impact of different approaches to increasing engagement. The knowledge gained from the programme will be made available to arts organisations, museums and libraries, local authorities and the wider cultural sector. Click on the logo below to get started!
Clore Fellowships
A reminder of the excellent opportunity of the Clore Fellowships...the clock’s against you, so don’t hesitate. Click on the money!
On the odd bit of poetry...
On the odd bit of poetry...
Why the pieces of poetry? In short, poetry wasn’t something that was part of my life as I was growing up, and over time (and out of the blue) it’s crept up on me, occasionally hitting me in the pit of the stomach, more often than not, explaining something I just haven’t quite understood. I think people reach out to it (or it to them) and find it more eloquent than they’d ever expect themselves to be, particularly at moments of heightened emotion; in times of love and death.
And if any of you want to share something, particularly if you’re from another country, with writers that I’ve never heard of, please feel free to email.
So here’s another Larkin; dark and from his later years. C.P.
Aubade
I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
- The good not done, the love not given, time
Torn off unused - nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.
This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear - no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anasthetic from which none come round.
And so it stays just on the edge of vision,
A small, unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.
Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape,
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what's really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.
The mind blanks at the glare. Not in remorse
- The good not done, the love not given, time
Torn off unused - nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.
This is a special way of being afraid
No trick dispels. Religion used to try,
That vast, moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear - no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anasthetic from which none come round.
And so it stays just on the edge of vision,
A small, unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And realisation of it rages out
In furnace-fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no one off the grave.
Death is no different whined at than withstood.
Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can't escape,
Yet can't accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.
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