0:00:02 > 0:00:03Welcome to The Arts Show.
0:00:03 > 0:00:06Tonight we're at the Belfast School of Art
0:00:06 > 0:00:09for the opening of the final year degree show.
0:00:45 > 0:00:47For 165 years,
0:00:47 > 0:00:51this college has been the touchstone for visual art in Belfast.
0:00:51 > 0:00:54This distinctive building has marked the first step on the road
0:00:54 > 0:00:59to international recognition for many of our most celebrated artists,
0:00:59 > 0:01:01but changes are afoot.
0:01:01 > 0:01:04This York Street site is about to be expanded
0:01:04 > 0:01:07to become the centrepiece for the city centre campus
0:01:07 > 0:01:09for the University of Ulster.
0:01:10 > 0:01:13In a few years' time, iconic parts of the art college,
0:01:13 > 0:01:16including the once popular Orpheus Ballroom,
0:01:16 > 0:01:17will be transformed.
0:01:17 > 0:01:20Plans reveal a huge glass minimalist structure
0:01:20 > 0:01:23with an extended walkway across York Street.
0:01:24 > 0:01:27Like other leading art colleges in major global cities,
0:01:27 > 0:01:31there are ambitious plans to further establish the art college
0:01:31 > 0:01:36here in Belfast as a world leader in art, design and architecture.
0:01:37 > 0:01:39As exam season is upon us,
0:01:39 > 0:01:41we also follow the end of year shows
0:01:41 > 0:01:44at other creative arts colleges around Northern Ireland,
0:01:44 > 0:01:46including music and performing arts
0:01:46 > 0:01:49at the South Eastern Regional College at Bangor,
0:01:49 > 0:01:51and the only all Ireland dance degree
0:01:51 > 0:01:54at Magee in Derry-Londonderry,
0:01:54 > 0:01:58former Belfast Art College alumni illustrator Oliver Jeffers
0:01:58 > 0:02:00on making it from degree show to global career...
0:02:02 > 0:02:05..and after our art show from here last year, we follow
0:02:05 > 0:02:08up on one of those we tipped for the top, Ashling Lindsay.
0:02:17 > 0:02:21There is such a tremendous sense of energy here tonight on what is the
0:02:21 > 0:02:25biggest night of the year for the art college, with literally hundreds
0:02:25 > 0:02:27of students showcasing their work, talent
0:02:27 > 0:02:30and creativity across a whole range of the arts.
0:02:35 > 0:02:38With celebrated contemporary photographer
0:02:38 > 0:02:41Paul Seawright as Head of School of Art and Design,
0:02:41 > 0:02:44and Turner-nominated Willie Doherty on the staff,
0:02:44 > 0:02:48the college is attracting hundreds of talented students.
0:02:48 > 0:02:52One of them has come all the way from Bulgaria to study photography.
0:02:52 > 0:02:54His name is Stanislav Nikolov.
0:02:54 > 0:02:57Stanislav, I believe it wasn't just the love of photography that
0:02:57 > 0:03:00brought you here but the love of a good woman?
0:03:00 > 0:03:01Yeah, that's right.
0:03:01 > 0:03:07I met my partner Adrienne about ten years ago in Bulgaria.
0:03:07 > 0:03:08Then I came to visit her here.
0:03:08 > 0:03:11Were you a photographer back in Bulgaria?
0:03:11 > 0:03:13Was it a hobby, was it an interest?
0:03:13 > 0:03:17For quite a few years, it was a hobby. Then I really got into it.
0:03:17 > 0:03:21Eventually I decided that I could see myself as a working photographer,
0:03:21 > 0:03:24so that's when I decided to do the course
0:03:24 > 0:03:25here at the University of Ulster.
0:03:25 > 0:03:30Tell me about these pictures behind me and, in particular, these...
0:03:30 > 0:03:33Are they wardrobes, or what are they?
0:03:33 > 0:03:38Well, they're very typical Bulgarian pieces of furniture.
0:03:38 > 0:03:40Every apartment has one of them.
0:03:40 > 0:03:42They're quite essential because most people live in these
0:03:42 > 0:03:47typical former communist small apartments.
0:03:47 > 0:03:51- So all their lives are crammed into these.- The space is quite tight.
0:03:51 > 0:03:55This is where people display their most precious possessions.
0:03:55 > 0:03:57- It's very personal as well.- Yeah.
0:03:57 > 0:03:59I was thinking about the idea of home and leaving home behind
0:03:59 > 0:04:02and what home means to me.
0:04:02 > 0:04:07It's a portrait of not only the people who live there,
0:04:07 > 0:04:08but, you know, Bulgarian culture.
0:04:08 > 0:04:11- You haven't brought one back to Belfast?- No.
0:04:11 > 0:04:16What's next? You've got your degree. What's your big ambition?
0:04:16 > 0:04:21Well, with this work, I would like to actually bring it to Bulgaria
0:04:21 > 0:04:26and show it there. Also, I made a book with this project.
0:04:26 > 0:04:30I would like to publish it and make that work known.
0:04:30 > 0:04:31Good luck with it.
0:04:31 > 0:04:34- Stanislav Nikolov, thank you so much.- Thanks very much.
0:04:41 > 0:04:44Oliver Jeffers, the North Belfast raised illustrator,
0:04:44 > 0:04:49writer and artist, graduated from here at the Art College in 2001.
0:04:49 > 0:04:50Since then, he's gone on to carve out
0:04:50 > 0:04:54an internationally successful career in children's literature.
0:04:54 > 0:04:57Now based in Brooklyn, he also works as a painter
0:04:57 > 0:04:58and as a film maker,
0:04:58 > 0:05:03most recently collaborating on a music video for U2, no less.
0:05:03 > 0:05:06I met him on a trip home to Northern Ireland.
0:05:06 > 0:05:09Oliver Jeffers, welcome to Belfast.
0:05:09 > 0:05:10Thank you, Marie-Louise.
0:05:10 > 0:05:14- Do you miss it?- Do I miss Belfast? Yeah, of course I miss Belfast.
0:05:14 > 0:05:18I still have many very good friends, and all my family is still here.
0:05:18 > 0:05:20You haven't lost your accent either.
0:05:20 > 0:05:23No, I'd be slapped by various people if I had.
0:05:24 > 0:05:27Oliver's work is known to children around the world
0:05:27 > 0:05:30having produced several books over the last decade,
0:05:30 > 0:05:31which have won numerous awards
0:05:31 > 0:05:35and been translated into over 30 languages.
0:05:35 > 0:05:38It all started somewhat more by accident than design while working
0:05:38 > 0:05:42on his final degree show project at the Belfast School of Art.
0:05:42 > 0:05:47I had intended to become a painter, an artist,
0:05:47 > 0:05:50before I fell into picture books.
0:05:50 > 0:05:52When I looked back on it,
0:05:52 > 0:05:55all of the art that I was making was very much about storytelling.
0:05:55 > 0:05:58I was putting words and pictures together on a canvas.
0:05:58 > 0:06:00I was very much interested in narrative
0:06:00 > 0:06:02and momentum of an image.
0:06:02 > 0:06:07Then whenever I came up with this idea that was originally going
0:06:07 > 0:06:10to be a painting, it turned out to be the cover of How To Catch A Star.
0:06:10 > 0:06:12I realised there's more life,
0:06:12 > 0:06:16there's more potential for this image to manifest in different ways.
0:06:16 > 0:06:19Rather than one image, this is ten images. It's an exhibition.
0:06:19 > 0:06:21It's a collection of paintings.
0:06:21 > 0:06:22Once I started drawing them out -
0:06:22 > 0:06:25this is not a collection of paintings, this is a story.
0:06:25 > 0:06:29It was at that point that I realised what was as much fun
0:06:29 > 0:06:33as suggesting the beginning, the middle, or the end of a story
0:06:33 > 0:06:36in a single image was to do all of them in a book format.
0:06:36 > 0:06:39'He sent an unsolicited manuscript and illustrations
0:06:39 > 0:06:41'to Harper Collins Publishers in London.
0:06:41 > 0:06:44'They got back almost immediately.'
0:06:44 > 0:06:46It landed on the right person's desk at the right time.
0:06:46 > 0:06:48What did they say as soon as they...?
0:06:48 > 0:06:51As soon as they phoned, they said, "Can you come to London tomorrow?
0:06:51 > 0:06:53"Or next week. As soon as you can."
0:06:53 > 0:06:57- Yeah.- And I did. I hopped on a plane. I even put on a tie.
0:06:57 > 0:06:59They asked me, "Do you have other books up your sleeve?"
0:06:59 > 0:07:03- I was like, "Yeah, of course I do." - You didn't.- No, not at all.
0:07:03 > 0:07:04SHE LAUGHS
0:07:04 > 0:07:07I agreed to build a wall, then learned how to build a wall.
0:07:07 > 0:07:09How To Catch A Star established Oliver
0:07:09 > 0:07:11as a new force in children's literature.
0:07:11 > 0:07:14He followed it up with Lost And Found,
0:07:14 > 0:07:18the poignant story of a young boy who befriends a penguin.
0:07:18 > 0:07:20Its global success led to the book
0:07:20 > 0:07:22being adapted as an animated film.
0:07:37 > 0:07:38Where did that come from?
0:07:38 > 0:07:41Where the idea for that story came about is actually in Belfast.
0:07:41 > 0:07:44It was my dad telling a story of a school group
0:07:44 > 0:07:48that went up to Belfast Zoo on a trip.
0:07:48 > 0:07:53One of the kids managed to break away and climb into the penguin enclosure.
0:07:53 > 0:07:56He managed to climb out with a baby penguin under his coat
0:07:56 > 0:07:59and get the whole way home and lock himself in the bathroom
0:07:59 > 0:08:00before anybody could figure it out.
0:08:00 > 0:08:04I always just wondered, "What was that like?"
0:08:04 > 0:08:05What do they talk about?
0:08:05 > 0:08:06What is this brief friendship,
0:08:06 > 0:08:09this relationship like between this boy and this penguin?
0:08:09 > 0:08:12I started making drawings about it.
0:08:12 > 0:08:16I feel like with any of the books that I make that are very satisfying
0:08:16 > 0:08:20and really good, you catch the tail of it and then it tells itself.
0:08:20 > 0:08:24I mean this truly, truly can be called a classic now.
0:08:24 > 0:08:25Especially since the film has come out.
0:08:28 > 0:08:31The exposure for that book has just been magnified.
0:08:31 > 0:08:35- Not just any film. I mean, it won a BAFTA.- Yeah.
0:08:35 > 0:08:37Philip Hunt and Studio AKA who made it.
0:08:37 > 0:08:41I think they won 70 awards for it in all. Something ridiculous like that.
0:08:41 > 0:08:43They did a brilliant job.
0:08:52 > 0:08:54One of Oliver's best-loved books came next -
0:08:54 > 0:08:56The Incredible Book Eating Boy -
0:08:56 > 0:08:59and marked a departure from his previous style,
0:08:59 > 0:09:02something his publishers initially fought hard against.
0:09:02 > 0:09:04It almost never happened,
0:09:04 > 0:09:07because How To Catch A Star and Lost And Found
0:09:07 > 0:09:08were so of a type of book.
0:09:08 > 0:09:12They were emotionally sweet and sentimental stories.
0:09:12 > 0:09:15Book Eating Boy was not. My publisher was not keen at all.
0:09:15 > 0:09:18Eventually, they cut a deal with me saying,
0:09:18 > 0:09:21"We'll let you make this book if you make the book
0:09:21 > 0:09:23"that we want to make next." I said, "OK, we'll do that."
0:09:23 > 0:09:24What was the next one?
0:09:24 > 0:09:27Well, that was the most successful book at that point,
0:09:27 > 0:09:28so they never made me...
0:09:28 > 0:09:30- They never made you do it.- Yeah.
0:09:30 > 0:09:32At that point, I'd earned my stripes.
0:09:32 > 0:09:35It's been a very different working relationship ever since,
0:09:35 > 0:09:36which has been great.
0:09:36 > 0:09:39I learned to listen to good editorial advice,
0:09:39 > 0:09:42and they learned to know that I'm always right.
0:09:42 > 0:09:43THEY LAUGH
0:09:43 > 0:09:45Oliver hasn't looked back since
0:09:45 > 0:09:48and releases at least one new book each year,
0:09:48 > 0:09:51illustrating both his own stories and other writers' work.
0:09:51 > 0:09:53As well as his children's output,
0:09:53 > 0:09:55he is incredibly productive in other disciplines,
0:09:55 > 0:09:58finding further success as
0:09:58 > 0:09:59a respected and sought-after artist,
0:09:59 > 0:10:01and has also diversified
0:10:01 > 0:10:02into the moving image.
0:10:03 > 0:10:05Are you a picture book writer-illustrator,
0:10:05 > 0:10:08are you a painter, are you a film maker?
0:10:08 > 0:10:10I'm all of them. I'm all of the above.
0:10:10 > 0:10:14I think that whenever I was in art college here,
0:10:14 > 0:10:16that was something that was occurring to people -
0:10:16 > 0:10:21the boundaries between the various disciplines were becoming fuzzier.
0:10:21 > 0:10:23There's a lot more crossover now than ever before.
0:10:23 > 0:10:26I suppose I'm a conceptual artist and a storyteller.
0:10:26 > 0:10:29The medium takes second place to the idea.
0:10:29 > 0:10:33- The concept is king, so to speak. - The mind is still curious.- Yeah.
0:10:33 > 0:10:36Oliver Jeffers, it's been a pleasure. Thank you so much.
0:10:36 > 0:10:37Thank you, Marie-Louise.
0:10:45 > 0:10:50The South Eastern Regional College, or SERC as it's known,
0:10:50 > 0:10:52has a vibrant performing arts and music department
0:10:52 > 0:10:54on its Bangor campus.
0:10:54 > 0:10:57It marries together the two strong traditions in Northern Ireland
0:10:57 > 0:11:00of theatre and music under the one roof.
0:11:00 > 0:11:01We went to find out more.
0:11:07 > 0:11:09The SERC Bangor campus is a large site
0:11:09 > 0:11:13offering a diverse range of courses from hairdressing to horticulture
0:11:13 > 0:11:15and carpentry to computer aided design.
0:11:15 > 0:11:18The performing arts courses began around 11 years ago
0:11:18 > 0:11:20with just a few students initially,
0:11:20 > 0:11:24but now attracts students from all over the country.
0:11:24 > 0:11:27Take a few seconds to think about your positioning.
0:11:30 > 0:11:34The performing arts and music department at SERC, Bangor campus
0:11:34 > 0:11:36is a thriving hub of creativity.
0:11:36 > 0:11:38On any day of the week,
0:11:38 > 0:11:41you will see performances across a number of different styles.
0:11:44 > 0:11:48'If you come here to study, you will study a wide range of subjects.
0:11:48 > 0:11:50'It could be popular entertainment,
0:11:50 > 0:11:52'where we look at things like stand-up comedy'
0:11:52 > 0:11:53and sketch comedy.
0:11:53 > 0:11:57It could be classical theatre, where we look at Shakespeare
0:11:57 > 0:11:58and Greek Tragedy.
0:11:58 > 0:12:00It could be contemporary theatre.
0:12:00 > 0:12:02'It could be singing, dancing.'
0:12:02 > 0:12:06One area that we do cover, which is quite important, is production arts.
0:12:06 > 0:12:09We do deliver units in lighting and sound.
0:12:09 > 0:12:12Our students do gain experience in technical theatre.
0:12:12 > 0:12:14In what way dissatisfied you?
0:12:14 > 0:12:18Do you think that you would be a little bit more forceful
0:12:18 > 0:12:22with her or are you intending to be gentle with her?
0:12:22 > 0:12:24Well, in the courtroom, she hasn't actually...
0:12:24 > 0:12:27'One of the modules that I deliver this year is naturalistic acting.
0:12:27 > 0:12:32'It's about delivering the students the skills to act
0:12:32 > 0:12:34'in a believable and truthful way.'
0:12:34 > 0:12:37Mary, this is a black art to change your shape.
0:12:38 > 0:12:40'We use the works of Stanislavski,'
0:12:40 > 0:12:42often known as the Godfather of modern theatre.
0:12:42 > 0:12:45'So I deliver weekly workshops dedicated to the skills
0:12:45 > 0:12:48'of the Stanislavski system.'
0:12:48 > 0:12:52Those skills are then employed into a large-scale performance
0:12:52 > 0:12:54later on in the academic year.
0:12:54 > 0:12:55SCREAMING
0:12:55 > 0:12:59It's not easy to get on to our programmes. We do have waiting lists.
0:12:59 > 0:13:02However, if you do gain a place at one of our programmes
0:13:02 > 0:13:05here at the college, you're guaranteed to have
0:13:05 > 0:13:07a vocational qualification at the end of it.
0:13:09 > 0:13:1392% of our students go into industry or higher education, which is
0:13:13 > 0:13:14a great success rate.
0:13:14 > 0:13:17In the past, we've had students who diversified from the areas
0:13:17 > 0:13:21of performing arts and music and gained employment in other areas.
0:13:21 > 0:13:24Just all of you remember - lines, lines, lines.
0:13:24 > 0:13:27'So it's not a strict pathway to just those subjects,
0:13:27 > 0:13:30'because the skills that you will gain when you're with us
0:13:30 > 0:13:32'will see you through any number of professions.'
0:13:36 > 0:13:40The music and music technology courses launched in the early '90s,
0:13:40 > 0:13:42and have been attended by members of Snow Patrol
0:13:42 > 0:13:46and INXS frontman and solo artist Ciaran Gribbin.
0:13:46 > 0:13:49One of this year's graduating music technology students
0:13:49 > 0:13:51is George Muldrew.
0:13:51 > 0:13:55'The reason I came on to the course was to get better at recording'
0:13:55 > 0:13:57and sound and live engineering -
0:13:57 > 0:14:03more specific skills in how to mic up drums, guitars, bass guitars,
0:14:03 > 0:14:08vocals, all sorts of instruments which I had no idea about before.
0:14:08 > 0:14:10I learnt about the physics of sound, which is very important.
0:14:10 > 0:14:13EQ and compression, and how to use those creatively
0:14:13 > 0:14:15and make a mix really sing.
0:14:17 > 0:14:18What do you think, guys?
0:14:18 > 0:14:21Sounded good. It's coming through really nicely.
0:14:23 > 0:14:26Despite also being a performer in numerous bands,
0:14:26 > 0:14:30the course has inspired George to seek a music career off the stage.
0:14:38 > 0:14:40I plan to move over to Glasgow.
0:14:40 > 0:14:44I'm seeking the opportunity to go and work in a top recording studio.
0:14:44 > 0:14:47I've got a nice production portfolio, which I want to pass on
0:14:47 > 0:14:49to these big studios, and hopefully get to the top.
0:14:53 > 0:14:56An important aspect of the course is music composition
0:14:56 > 0:14:58and sound design for film.
0:14:58 > 0:15:01I think for a production student, actually, it's very good.
0:15:01 > 0:15:03When you look at this first page,
0:15:03 > 0:15:04you've got a lot of whole note movement,
0:15:04 > 0:15:08whereas when we get over here, the rhythm is much more diverse.
0:15:12 > 0:15:17'It's an interesting unit that allows the students to write a score
0:15:17 > 0:15:20'to a given piece of film.'
0:15:20 > 0:15:21Then we bring in a professional group
0:15:21 > 0:15:23and we record the piece of music.
0:15:23 > 0:15:26'They also do the sound design for it as well.'
0:15:29 > 0:15:32'My role is to obviously address a lot of the technical
0:15:32 > 0:15:35'aspects of making sure they can group notes properly,
0:15:35 > 0:15:40'that they can express what they want to express on paper.'
0:15:40 > 0:15:44Here in this bar, for example, you've got a G-flat and a G-sharp.
0:15:44 > 0:15:47What you'd want to do is rationalise that G-sharp as an A-flat.
0:15:47 > 0:15:50'This is a good course for anyone wanting to be'
0:15:50 > 0:15:52involved in the music industry.
0:15:52 > 0:15:53The reason why I say that is
0:15:53 > 0:15:57because there's such a strong practical element.
0:15:57 > 0:15:59'I think that the fact that we make them
0:15:59 > 0:16:02'do a project like the one I described in relation to the
0:16:02 > 0:16:04'composition for film and TV,'
0:16:04 > 0:16:08'where they're responsible for all aspects of music making -
0:16:08 > 0:16:12'the composition, directing the band, recording the band,'
0:16:12 > 0:16:14going out and collecting all the sound,
0:16:14 > 0:16:15fully putting everything together -
0:16:15 > 0:16:19that's a prime example of how hands-on the units that we
0:16:19 > 0:16:20deliver can be.
0:16:23 > 0:16:26With the increasing interest and uptake of the courses,
0:16:26 > 0:16:29the college received some exciting news this year.
0:16:29 > 0:16:32We've just been given the go-ahead for a new performing arts
0:16:32 > 0:16:35and technology and innovation centre.
0:16:35 > 0:16:38It's a new 12.6 million building that will give us
0:16:38 > 0:16:42our own brand-new theatre space. We're very excited.
0:16:42 > 0:16:45The students are going to benefit greatly from this new facility,
0:16:45 > 0:16:48where the department will go from strength to strength.
0:16:59 > 0:17:03Last year, we met a rising star in the world of illustration,
0:17:03 > 0:17:06somebody who could give Oliver Jeffers a run for his money.
0:17:06 > 0:17:09Ashling Lindsay had just been shortlisted
0:17:09 > 0:17:11for the Oscars of illustration.
0:17:11 > 0:17:14This year, she's been shortlisted for a second time.
0:17:14 > 0:17:18The Arts Show went along to find out what a difference a year can make.
0:17:21 > 0:17:23A few months after I graduated,
0:17:23 > 0:17:26I started working in Black North on a project called Finn In The Forest.
0:17:28 > 0:17:30I was brought on to do the concept work and some illustrations -
0:17:30 > 0:17:33generating ideas, character development
0:17:33 > 0:17:35and storyline development as well.
0:17:38 > 0:17:40Finn In The Forest is a one-hour broadcast special,
0:17:40 > 0:17:42and it's also an interactive storybook.
0:17:42 > 0:17:46It's a story based around Finn and Nora, his little sister.
0:17:46 > 0:17:48They're dropped off by their parents at a wake.
0:17:48 > 0:17:51They don't realise it's a wake and they're pushed
0:17:51 > 0:17:54to explore their environment by a cat that leads Nora astray.
0:17:54 > 0:17:56Finn has to follow Nora to look after her.
0:17:58 > 0:18:01I think it's important to come up with your own stuff as well,
0:18:01 > 0:18:03just to make sure that you've got more than one thing
0:18:03 > 0:18:05going on all the time.
0:18:07 > 0:18:08I entered some of my personal work
0:18:08 > 0:18:10that I've been working on from home
0:18:10 > 0:18:13into the AOI Illustration awards this year.
0:18:13 > 0:18:15It was a few illustrations that I'd done
0:18:15 > 0:18:18for the book by Joseph Conrad called The Heart Of Darkness.
0:18:18 > 0:18:20I got shortlisted in the books category for new talent,
0:18:20 > 0:18:22so I'm really, really pleased with that.
0:18:24 > 0:18:27Last year I got a load of enquiry e-mails
0:18:27 > 0:18:29from loads of different people
0:18:29 > 0:18:31asking me to do small pieces of freelance work,
0:18:31 > 0:18:34so it really did help spread my name around.
0:18:34 > 0:18:36It was really helpful.
0:18:39 > 0:18:41I really love the animation stuff
0:18:41 > 0:18:44that Julia Potts does at the minute.
0:18:44 > 0:18:46There's an artist called Andrew Hem,
0:18:46 > 0:18:48a painter, I love his techniques.
0:18:50 > 0:18:52I still love the work by Oliver Jeffers.
0:18:52 > 0:18:56He's constantly doing new things with film.
0:18:56 > 0:19:00I really want to get into directing some of my own stuff.
0:19:00 > 0:19:02Chris Kelly, the director of Black North, and I
0:19:02 > 0:19:05have been working on a short animated film that we're
0:19:05 > 0:19:07probably going to do,
0:19:07 > 0:19:09so he's going to be the writer and producer on that
0:19:09 > 0:19:11and I'll get a chance
0:19:11 > 0:19:13to try out being the director and see what I think of it.
0:19:13 > 0:19:15I'm really looking forward to doing that
0:19:15 > 0:19:18over the next year while I'm here.
0:19:18 > 0:19:22I can't believe that I went through university and came out
0:19:22 > 0:19:23and got to do the job
0:19:23 > 0:19:25that I've always wanted to do.
0:19:26 > 0:19:27It's really, really amazing.
0:19:37 > 0:19:39Ashling Lindsay - a name to watch.
0:19:39 > 0:19:43Now contemporary dance is still very much an underrepresented sector
0:19:43 > 0:19:45of the arts in Northern Ireland, with only a handful
0:19:45 > 0:19:49of companies in existence set up here in the last decade or so.
0:19:49 > 0:19:52In 2006, the University of Ulster at Magee
0:19:52 > 0:19:54set up a school of creative arts,
0:19:54 > 0:19:58with the only undergraduate dance degree on the island of Ireland.
0:20:00 > 0:20:02MUSIC: "Take Five" by Dave Brubeck
0:20:07 > 0:20:11This is the only dance degree programme on the whole island.
0:20:11 > 0:20:15We very much focus on contemporary dance because we think that's
0:20:15 > 0:20:19a useful medium for students to be able to be creative within.
0:20:21 > 0:20:24One thing that we have on this course is a huge focus
0:20:24 > 0:20:28both on creativity and on the actual practical, physical dancing.
0:20:28 > 0:20:31We do give a dance class a day.
0:20:31 > 0:20:35They then know what is this thing they're dealing with creatively -
0:20:35 > 0:20:37this actual stuff called movement.
0:20:37 > 0:20:40Five, six, seven, and eight. One, two, three...
0:20:40 > 0:20:43One of this year's graduates is Melissa O'Neill,
0:20:43 > 0:20:45a mature student and mother of three who put her career
0:20:45 > 0:20:48as an alternative therapist on hold
0:20:48 > 0:20:50to obtain a formal qualification in dance.
0:20:52 > 0:20:54Learning dance was very new to me.
0:20:54 > 0:20:58I'd only previously done it when I was young.
0:20:58 > 0:21:02But other than that, I had no formal education in dance whatsoever.
0:21:06 > 0:21:10My final piece of choreography that I made for the degree programme
0:21:10 > 0:21:13is called Conversations. It's set in a cafe space.
0:21:13 > 0:21:16It seemed to be absolutely perfect
0:21:16 > 0:21:17because there was people coming in,
0:21:17 > 0:21:19sitting down beside other performers,
0:21:19 > 0:21:21they didn't know that it was a performance
0:21:21 > 0:21:25until maybe they'd seen people getting up on to the floor
0:21:25 > 0:21:29and starting to move around the space, but they were intrigued.
0:21:29 > 0:21:32It's based upon relationships that woman would have
0:21:32 > 0:21:35with each other and themselves.
0:21:35 > 0:21:40In it is a basis of contemporary dance but also physical theatre.
0:21:40 > 0:21:44When I saw it in the cafe, I was hugely impressed.
0:21:44 > 0:21:48The piece seemed to evolve in front of our eyes.
0:21:48 > 0:21:51Her various dancers come in at different points,
0:21:51 > 0:21:53and...just as somebody would come into a cafe.
0:21:53 > 0:21:56They'd go and get their coffee and they'd come to a table.
0:21:56 > 0:21:58I have to say, I love that -
0:21:58 > 0:22:01when you're not quite sure what are the borders of a piece,
0:22:01 > 0:22:05you're not quite sure when a piece starts and finishes,
0:22:05 > 0:22:08you're not quite sure who's in the audience,
0:22:08 > 0:22:11because it's always calling into question
0:22:11 > 0:22:15what is the relationship between the piece and its audience?
0:22:16 > 0:22:19Yes, it's interesting. It's fun, it's exciting.
0:22:19 > 0:22:22You just never know how it's going to turn out in the end.
0:22:22 > 0:22:23Go for the leg, yeah.
0:22:25 > 0:22:28Melissa hopes to incorporate movement as a form of expression
0:22:28 > 0:22:33into her therapeutic work with individuals and community groups.
0:22:33 > 0:22:35The expression does play a big part.
0:22:35 > 0:22:38It's allowing that expression for others.
0:22:38 > 0:22:44Then I'd like to help them express and allow them that freedom.
0:22:45 > 0:22:50Many of our graduates have actually gone on to be professional dancers
0:22:50 > 0:22:54both in Northern Ireland but also actually in Europe,
0:22:54 > 0:22:56in Australia, in North America.
0:23:01 > 0:23:04The dance scene in Northern Ireland is thriving,
0:23:04 > 0:23:06but it's thriving in pockets
0:23:06 > 0:23:09so that we have extremely strong
0:23:09 > 0:23:11and innovative companies
0:23:11 > 0:23:13working in Belfast, in Derry.
0:23:13 > 0:23:16They're producing international standard work.
0:23:18 > 0:23:20What we have to work on very hard now, I think,
0:23:20 > 0:23:23is trying to build an audience -
0:23:23 > 0:23:27that kind of participation of people in art
0:23:27 > 0:23:30rather than being expected to be passive observers
0:23:30 > 0:23:32is very likely the way forward.
0:23:41 > 0:23:45The buzz here at the art college is really quite incredible
0:23:45 > 0:23:47with hundreds of people streaming through the doors
0:23:47 > 0:23:52to look at new talent and hopefully buy some new work as well.
0:23:52 > 0:23:55Ceramics has to be one of my favourite parts of the show -
0:23:55 > 0:23:59incredible tour de force of some of the work of the ceramic students
0:23:59 > 0:24:01here at the art college.
0:24:01 > 0:24:04Rhiannon Ewing-James, this is your work here.
0:24:04 > 0:24:09Quite minimalist when you look at it at first. What are you trying to do?
0:24:09 > 0:24:13It might look minimal but it's got very many layers. It started off...
0:24:13 > 0:24:17I visited Stoke-on-Trent, an abandoned ceramic factory.
0:24:17 > 0:24:18It got me thinking.
0:24:18 > 0:24:21These people have lost their jobs and it's not necessarily the money
0:24:21 > 0:24:24that it's important, it's this loss of something else -
0:24:24 > 0:24:27this loss of purpose and loss of pride within a community.
0:24:27 > 0:24:32The objects that I have created all suggest use, but you can't use them.
0:24:33 > 0:24:36The materials play a very important role in explaining the work.
0:24:36 > 0:24:40Because it's not just ceramics that are in here - plastic.
0:24:40 > 0:24:42- Yeah.- That's not something that you would associate with
0:24:42 > 0:24:44the craft of ceramics, is it?
0:24:44 > 0:24:47Not at all. It completely opposes it.
0:24:47 > 0:24:50The combination of ceramics and plastic is very important.
0:24:50 > 0:24:53Plastic is something very bright and colourful.
0:24:53 > 0:24:54It craves attention,
0:24:54 > 0:24:58but it's very empty in comparison to the tactile ceramic surface.
0:24:58 > 0:25:01It's something that I wanted to play with.
0:25:01 > 0:25:05Plastic being a very mass-produced material, cheap for manufacture,
0:25:05 > 0:25:08in contrast to something we have a familiar relationship with.
0:25:08 > 0:25:10Also that then reflects the loss -
0:25:10 > 0:25:13the loss of that industrial architecture and heritage,
0:25:13 > 0:25:17which is probably very relevant to here as well, Belfast.
0:25:17 > 0:25:18It brings it very close to home,
0:25:18 > 0:25:21especially with the shipyard lands down at the Docklands,
0:25:21 > 0:25:26which this piece here, my bollard, has been inspired by.
0:25:26 > 0:25:29So what's next for you after this degree show ends
0:25:29 > 0:25:32and you take everything away, where do you go?
0:25:32 > 0:25:35I have very fortunately got a job in Denmark.
0:25:35 > 0:25:39I'm going to work at the International Ceramic Research Centre
0:25:39 > 0:25:42called Guldagergaard.
0:25:42 > 0:25:45There I will be a studio technician working with the different
0:25:45 > 0:25:46artists in residence.
0:25:46 > 0:25:48Then I'll move on to programmes coordinator,
0:25:48 > 0:25:51organising different events and exhibitions for the research centre.
0:25:51 > 0:25:55- How's your Danish?- Not great.
0:25:55 > 0:25:56But it's something
0:25:56 > 0:25:57I can pick up and learn.
0:25:57 > 0:25:59We'll come back and see you in a couple of years' time and see
0:25:59 > 0:26:01whether that's worked out.
0:26:01 > 0:26:03Rhiannon Ewing-James, thank you so much.
0:26:03 > 0:26:04Continued success.
0:26:12 > 0:26:15So what happens after you get your degree?
0:26:15 > 0:26:17Many graduates find that they need much more
0:26:17 > 0:26:19than just a good portfolio.
0:26:19 > 0:26:22Talent is everything, but so is money.
0:26:22 > 0:26:25Well, one local person, a woman called Rosy James,
0:26:25 > 0:26:27a graduate of this very art college,
0:26:27 > 0:26:30left half a million pounds in her will
0:26:30 > 0:26:32to establish a bursary in her name.
0:26:32 > 0:26:36Suzanne Lyle from the Arts Council, Rosy James sounds like
0:26:36 > 0:26:39she was an incredible character - quite colourful and outspoken.
0:26:39 > 0:26:41She was hugely colourful.
0:26:41 > 0:26:43She had come into the Arts Council to talk about the award,
0:26:43 > 0:26:45to ask how it might be possible.
0:26:45 > 0:26:47She signed the visitor's book as "Moi,"
0:26:47 > 0:26:49rather than anything else.
0:26:49 > 0:26:51From the get go, yeah.
0:26:51 > 0:26:53Who is this aimed at? Who is this bursary for, specifically?
0:26:53 > 0:26:56It's aimed at craft makers, designer makers and craft.
0:26:56 > 0:26:58So it could be ceramicists, silversmiths,
0:26:58 > 0:27:00anybody within that broad discipline.
0:27:00 > 0:27:02You have the first recipient beside you.
0:27:02 > 0:27:05We can exclusively reveal on The Arts Show.
0:27:05 > 0:27:08Absolutely, Stuart Cairns is the first recipient.
0:27:08 > 0:27:10- Congratulations, Stuart. - Thanks very much.
0:27:10 > 0:27:13- You work in what area? - I work in silversmithing.
0:27:13 > 0:27:19I produce objects based on utensils, vessels, domestic type forms.
0:27:19 > 0:27:21I do it in a variety of materials, so not just silver,
0:27:21 > 0:27:23a whole variety of things.
0:27:23 > 0:27:26How much is this bursary worth, £15,000?
0:27:26 > 0:27:29- 15,000, yeah.- So what will that mean for your career?
0:27:29 > 0:27:33It's basically a turbo boost to your career.
0:27:33 > 0:27:36It means I can take more time to research to develop a new
0:27:36 > 0:27:38body of work over the coming year
0:27:38 > 0:27:41and take advantage of some of the international opportunities
0:27:41 > 0:27:44that have started to come my way for exhibitions.
0:27:44 > 0:27:50So I'm invited to exhibit in Sweden next year, Amsterdam and Germany.
0:27:50 > 0:27:52So this will really, really help me
0:27:52 > 0:27:54to produce the work of the right standard.
0:27:54 > 0:27:57Hopefully I can push on and take full advantage of the opportunities.
0:27:57 > 0:27:59- God bless Rosy James, then. - Indeed, yeah.
0:27:59 > 0:28:03We wish you continued success. Congratulations. Thank you, both.
0:28:03 > 0:28:05- Thank you.- Cheers. Thanks.
0:28:21 > 0:28:24Well, that's it from The Arts Show for this month.
0:28:24 > 0:28:28You can join me on Twitter now to continue the conversation.
0:28:28 > 0:28:32Of course, you can keep up to date with all arts and culture
0:28:32 > 0:28:37on Arts Extra, weeknights at 6.30 on BBC Radio Ulster.
0:28:37 > 0:28:42Also check out our own website for some great content and archive.
0:28:42 > 0:28:45We'll be back in September. Until then, have a great summer.
0:28:45 > 0:28:46Good night.