Having taken an interest in Bradford One and their efforts to make The Bradford Odeon an economically viable venue with an assured future for the community at large, I was reminded of The Black-E Project in Liverpool, Britain's first ever community arts project.
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| Sir Peter Moores |
The Black-E (formerly The Blackie) began with the commitment to combine a contemporary arts centre with a community centre. When - having taken over the former Great George Street Congregational Church in October 1967 with the support of Peter Moores - the team of artists led by Wendy and Bill Harpe began their cultural adventures with long term aims and with an 'open door' policy. What might have seemed almost fortuitous at the time of the public launch in May 1968 can now be seen as essential ingredients in determining the character of the U.K.'s first community arts project, and in creating a centre where all the arts (performing and making, experimental and traditional) might engage with all the people who chose to come through the doors (young and old, disadvantaged and privileged).
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| Chinatown - with thanks to Formidable Photography |
The choice of a home and base in one of the finest 19th Century buildings in the city, together with a commitment to both preservation and renovation, provided a re-affirmation of the natural links between the past, the present, and the future. The proximity of the building to Britain's oldest established African-Caribbean community - and to Europe's oldest Chinatown - meant that cultural diversity would be celebrated as a natural phenomenon.
The siting of the building adjoining a residential neighbourhood and yet close to the city centre meant that both residents of the city and visitors to the city would find it accessible - and that it would be natural for playgroups and community enterprises to take place alongside dance recitals and exhibitions. The fact that the founders were artists shaped an organisation where creating works became as natural as presenting and promoting works. And the balance of the staffing, with women taking a leading role from the earliest years, has meant that the organisation has evolved a natural commitment to women and the arts.
Their home and base is the former Great George Street Congregational Chapel and originally derived its familiar name the Blackie (now the Black-E) as a shortened version of 'The Black Church' - a description of the Chapel in the 1960's covered with over a hundred years of inner-city smoke and grime. Although stone cleaned in the 1980's the building still retains its name. The Great George Street Chapel became the focus not only of worship but also of educational and artistic activities and a programme of social welfare. The last service took place in February 1967, and later that year the building was acquired by the Peter Moores Foundation and then launched in May 1968 as the home and base for the UK's first community arts project. Plans were drawn up to redevelop the interior of the building while retaining the (Grade II listed) exterior. Work commenced on this redevelopment in 1975, and has continued in Phases, as funds have become available, up to the present time.
The Black-E hosts a phenomenal variety of Performance Events, Exhibitions, Workshops and a Youth Arts Programme. As a for instance they are currently encouraging Music Promoters to work with them to deliver a year-round programme of music and dance performance. They are interested in a broad range of music including folk, international roots musics, reggae, hip-hop, contemporary, acoustic and singer-songwriters, Americana and country, jazz, classical, etc.
The Black-E / Great Georges Community Cultural Project recently completed a £6m capital redevelopment programme. This has delivered a spectacular in-the-round auditorium with two overlooking balconies, capable of a number of configurations, with capacities up to 550, and suited to a variety of music and dance performance promotions. The building is now fully licensed, including bar facilities. State-of-the-art staging, sound and lighting equipment are in-house.
As I hope you can see they are a great model for the type of venue that The Bradford Odeon can aspire to become with the help of everyone in the local community and beyond. here's a for instance of the kind of effort and generosity that have made The Black-E what it is today.
Following on from Sir Peter's original support (and covering the four decades from 1967 to 2008) :-
As I hope you can see they are a great model for the type of venue that The Bradford Odeon can aspire to become with the help of everyone in the local community and beyond. here's a for instance of the kind of effort and generosity that have made The Black-E what it is today.
Following on from Sir Peter's original support (and covering the four decades from 1967 to 2008) :-
- 84 charitable trusts, government agencies and departments, companies, and individuals have provided £3,855,500 in support of the cultural programme. Click here for further information.
- 40 charitable trusts, government agencies and departments, companies, and individuals have provided £5,939,900 in support of the capital redevelopment programme. Click here for further information.
- over 750 companies and 500 individuals have provided support through donated goods and services. Click here for further information.
- over 1,000 volunteers from the UK and around the world have gifted over 383,000 hours to work and play at The Black : E. Click here for further information.
Financial support has ranged from £10 to £2m ; gifts in kind have ranged from a kitchen table to a lorry load of paint ; volunteers have given from 3 hours per week to 3 years of full time service (now that's commitment).
