The Heroine Project Presents by David Caycedo

· The Heroine Project Presents ·

The Heroine Project Presents

‘OVER THE TOP The True-Life tale of Dorothy Lawrence’

David Felipe Gallo Caycedo

MA Arts Management · Extended Placement

The Heroine Project Presents

‘OVER THE TOP The True-Life tale of Dorothy Lawrence’

MA Arts Management Extended Placement

David Felipe Gallo Caycedo

September 2015 - September 2016

· The Heroine Project Presents ·

Contents The Heroine Project Presents About Me The Agreement David’s Objectives: Lizzie’s Objective:

Marketing Material

9 13 16 16 17

Social Networks 19 Flyers and multimedia content 22 Original Flyer 22 New Flyer 22 Simple Flyer 23 E-Flyer for Corsham Workshops 23 Animated GIFs 24 E-Poster 25

Photo Album Tour Rehearsals Hayesfield Girls’ School

28 28 31

Film-making 38 5

· Extended Placement ·

Evaluation Process

Arts Council Evaluation Document Key achievements and lessons Achievements Lessons learnt Activity Location People that benefited from your activity Statement of income and expenditure

47 47 47 48 49 50 52

Designing my own project

Logic Model 61 Lizzie’s Framework 61 Manifesto 63 ‘The Invisibles’ Logic Model 66 Assumptions 66 Impact 67 Outcomes 68 Outputs 69 Processes/Activities 70 Preliminary Process 70 R&D Process 70 Delivery Process (To Be Decided At The End Of R&D) 71 Resources 72 Relationships 72 Mentors 72 Human 72 Organisational 72 Financial 72

Resources 74 6

Written and designed by David Felipe Gallo Caycedo All images ÂŠ 2016 David Felipe Gallo Caycedo

· The Heroine Project Presents ·

The Heroine Project Presents

he Heroine Project Presents is a theatre company directed by Elizabeth “Lizzie” Crarer. The purpose of the company is to tell the stories of women from history who have been overlooked or misrepresented. This is done by interacting and creating a dialogue with the audiences and meticulously investigating the history behind stories and characters. “We invite people to get under the skin of history through performance, workshops and discussions, sparking reflection and debate in the present through imagining the tales of the past.” (The Heroine Project Presents, 2016) Inspired by the story of Dorothy Lawrence, the company’s first work was born out of the assumption that “we become like those that we contemplate and that the manipulative one-dimensional representations of women in popular culture are increasing negative self-perception among women” (Crarer, 2016). By offering positive representations of women from history, reflections on the negative gender stereotypes are stimulated, opening opportunities for changing attitudes. Dorothy Lawrence was a writer that struggled to go as a war correspondent to France in the First World War. Her perseverance, a soldier uniform, a bicycle and fake documents took her to the front-battle.

· Extended Placement · Her story echoes through time in the book she wrote going against the restrictions imposed by her government. After further research and collaboration between multiple partner organizations and people, The Heroine Project Presents (THPP) created a performance around Dorothy and the internal fights between an artist and her work. Naomi Zara (Dorothy) and Eleanor Buchan (Master of Ceremonies) are responsible of embodying this conflict in a play written and devised by them in close collaboration with the director, Lizzie Crarer, and the music composed by Natalie Brice. Furthermore, with ‘Over the Top: The true life-tale of Dorothy Lawrence”, THPP offers an experience beyond theatre. Through after show discussions, workshops, a touring exhibition and short films; the theatre company has ensured a legacy for Dorothy’s story.

“A play that is presented and then vanishes is not a good way of embracing history and doing something with value.” Lizzie Crarer

· The Heroine Project Presents ·

About Me

rained as a designer, my personal quest in creativity has always been inspired in collaborative devising of projects. I have always believed in the multiple possibilities that can arise when collaborating with people formed in different areas of knowledge. When I first saw The Heroine Project Presents’ performance, I immediately wanted to participate. The idea of theatre experiences with an educational aim, devised in collaboration with historians and original research was really inspiring. Furthermore, the education and learning elements of THPP complemented my interests in arts and education, community engagement and development of audiences. THPP fulfilled completely what I wanted to pursue when I got interested in theatre as part of my development as an Arts Manager. THPP for me was not only a place to learn from the experiences of theatre practitioners, it was a place in which my ideas were heard and my opinions respected. I grew as an arts manager, but also as a human being. This account gives you a look into the journey I undertook with Lizzie Crarer and The Heroine Project Presents, documenting my development and progress over the last few months. Additionally, you will be able to see the project I created inspired on the experience acquired during my MA course and over the time working with THPP and Natural Theatre Company. 13

Performance at Hayesfield Girls School Âˇ 11th July 2016

· Extended Placement ·

The Agreement

n order to have a healthy work relationship, the first lesson learned from Lizzie was to always be really clear about the commitments of each person when starting a job. Since I was giving my time with her for free, she felt it was really important to give me every opportunity she could to help me make the most of my time working with her. Therefore, she wrote an agreement that set out our expectations about working together. David’s Objectives: • To gain a deeper knowledge of the possibilities and limitations inherent on building new audiences for theatre, and engaging the public. • To understand the process of developing a project in a way that can be adapted to different contexts. • To understand how to lead a team and make people fall in love with your ideas. • To be able to move the project forward in a new direction.

· The Heroine Project Presents ·

Lizzie’s Objective: • To ensure the effective marketing of the performances in June/July and the workshops in the autumn. • To make a comprehensive, accurate and clear evaluation of the project for the Arts Council and other partners/funders. • To gain clarity of intention and purpose of how to go forward beyond this project. • To ensure the smooth running of all rehearsals and performances.

· Extended Placement ·

Marketing Material

or marketing purposes Lizzie had already designed a poster to invite the different audiences to the performances, the web site was already on-line and a social media strategy was already in progress. Nevertheless, her self-taught approach to the visual communications needed tuning. My part in this story begins by analysing the communication strategy Lizzie had undertaken, and adjusting those things I found weak in visual terms and in the marketing strategy. Using my skills and background I proposed a more active use of social media. Bearing in mind the targeted audience, I took charge of social media accounts in order to enhance their performance through visual content and active participation in different virtual communities. Target Audiences (Wiltshire and wider South West) • Women groups. • People interested in the First World War. • Young people studying history for GCSE and A-Levels. • Feminist Groups. • Local history enthusiasts. • New theatre enthusiasts.

Âˇ The Heroine Project Presents Âˇ

Social Networks

TheHeroineProj

witter was the main platform used to engage audiences. As a strategy we communicated in a familiar tone and produced visual material using photography and animated GIFs, accompanied with the hash-tag #WhatWouldDorothyDo. 19

Âˇ Extended Placement Âˇ

TheHeroineProjectPresents

acebook followed the example of Twitter as a platform to talk with the audience in a familiar tone. The use of photographs was really important. It was also used as a way of sharing content related to women and history.

Âˇ The Heroine Project Presents Âˇ

heroineprojectpresents.com

he web page was developed using wix. com platform. The use of Wix as a tool for web design is really limited for someone that knows about web design, but it was a good option for Lizzie to manage content. Therefore I took charge of making the web page more united to the visual language we had developed. The selection of colour and typography was based on previous advertisement pieces that I had created.

Âˇ Extended Placement Âˇ

Flyers and multimedia content Original Flyer

New Flyer

Âˇ The Heroine Project Presents Âˇ Simple Flyer A simpler design of the poster was required for the promotion of specific venues like the one in Bradford on Avon Library or announcing the tour through June and July. The simple design became a template for the development of animated GIFs to be used on social media. Using the basic design of the poster, the black space became an information container on which the data from the venue was displayed. E-Flyer for Corsham Workshops

Âˇ Extended Placement Âˇ Animated GIFs

ith this campaign based on questions for the women around Bristol and the South West, we tried to involve the communities we had contacted through Twitter and Facebook, before the tour of June and July. On every GIF there was a question over a photograph of the show, followed by an animated hash-tag question that changed from heroine to pioneer, criminal and journalist.

· The Heroine Project Presents ·

E-Poster

Performance at Hayesfield Girls School Âˇ 11th July 2016

Âˇ Extended Placement Âˇ

Photo Album Tour Rehearsals Salisbury 27th June 2016

or five days before the beginning of the tour the actresses gathered to rehears and tune the last details of the show. In the rehearsal of the 27th I got to see Lizzie as the Director. Away from the management, the artistic direction was interesting for me because it is, at least the way she does it, a way of managing the people and negotiating aspects of the performance with the actresses.

Âˇ The Heroine Project Presents Âˇ

In a way, directing a play can be compared to managing a project in the way that you are leading people towards an aim. Hence, you always have to be aware of every detail while giving space for the others to take advantage of their skills.

· Extended Placement ·

· The Heroine Project Presents ·

Hayesfield Girls’ School Bath 11th July 2016

he performance and post-show discussion at Hayesfield School in the Roper Theatre was not open to the public, but was specifically for year nine girls who were about to start their GCSEs this Autumn. The Head of Drama, Darian Nelson, selected ‘Over the Top’ because it was a good example for the girls of the importance and capabilities of drama and history. The post-show discussion arose a big number of questions that were not answered due to a lack of time. This was an example of the engaging capabilities of the play.

· Extended Placement ·

· The Heroine Project Presents ·

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· The Heroine Project Presents ·

Film-making for Historical Association Âˇ 13th August 2016

· Extended Placement ·

Film-making

y extending Dorothy’s story through film, a key objective of THPP was fulfilled - increasing the impact and legacy of the story by translating it to other platforms. These films are going to be part of the Historical Association’s educational package for teachers that will provide stimulus for classroom discussions and raise awareness of Dorothy’s legacy.

· The Heroine Project Presents ·

· Extended Placement ·

· The Heroine Project Presents ·

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Âˇ The Heroine Project Presents Âˇ

hrough collaborating with the film-makers, I had confirmation of something I deeply believe. By collaborating with different disciplines it is possible to produce stronger messages and experiences. Through the use of other cultural languages we are opening the reach of our message to different audiences with different consumption habits. The use of films gave us new tools for signifying and expressing different feelings through the use of backgrounds, acting, sounds or the use of music.

Film-making for Historical Association Âˇ 13th August 2016

· Extended Placement ·

Evaluation Process

he Arts Council England (ACE) takes the evaluation process as a space for thinking and learning from your activity (ACE Form’s explanation, 2016). Indeed, evaluating a project is really important for the complete understanding of the process and its outcomes. By gathering evidence from before, during and after the project, an evaluator can measure the success and identify any unexpected outcome of the project. All this, in order to decide on future changes for plans of action or confirming the accuracy of the actual process. For the first section of the evaluation, Lizzie wrote a summary which she divided in two sections: the key achievements and lessons learned; and how the project facilitated her professional and artistic development. Besides, ACE’s form analyses components like location, people benefited from its activity and the income and expenditure of the project. This is my brief review of her report which will be followed by fragments of the actual evaluation document and my own explanation of each section.

· The Heroine Project Presents ·

Arts Council Evaluation Document Key achievements and lessons Achievements ccording to the summary made by Lizzie, the achievements start with the theatrical experience which successfully integrated historical research that was acclaimed by Simon Jones, an historian and expert on Dorothy Lawrence. This, followed by the fruitful performance of 10 shows instead of the planned 8. Furthermore, the exhibition created for ‘Wiltshire at War’ in collaboration with ‘Now Heritage’ created, according to Lizzie, a legacy which establishes Dorothy in Wiltshire’s history. During the first round of workshops there was a £1000 underspend that she decided to use in 8 new sessions that are now more valued due to the closer relationships created with The Natural Theatre, Corsham School, The Pound arts centre and The Corsham Local Youth Network. About relationships she strengthen those she initially had with arts and heritage organizations and created new ones during the process. Those new relations gave the project opportunities for new performances like the ones performed in Hamilton House in Bristol; the Bradford on Avon Library; and Hayesfield Girls’ School in Bath. Moreover, all the venues manifested positive feedback in response to the question ‘Would you work with THPP again?’ Additionally, the performance for Bath Spa University gave

· Extended Placement · as product the arrangement between Lizzie and I on which she took me as an intern and set a precedent for future intern-ships. Likewise, she established an artistic identity and professional reputation in the Southwest that drove her, among many other things, to be head hunted for the performance event produced by The National Theatre, ‘We’re Here Because We’re Here’. In the administrative part she acknowledges the experience of managing a budget of over £14,000 and a crew of 18 people. Lessons learnt bout the lessons, Lizzie remarks the importance of her mentors while embarking in a practice outside of her experience. ‘They gave me insights that informed my decision-making, and gave me the confidence to provide strong leadership to my team.’ (Crarer, 2016) As an administrator she also recognised the importance of delegating duties and building a good team. Lizzie acknowledges the new set of skills and new perspectives acquired when working with me and the marketing consultant Deborah Ward. As a key lesson she mentions how isolated and overwhelming it was to be in charge of everything and expresses that in the future she will budget for more administrative time and a bigger team. In the artistic lessons she affirms that ‘working in short, intensive periods with the same group of collaborators over many months enables time for reflection, additional research

· The Heroine Project Presents · and writing’ (Crarer, 2016). In the future she will run the workshops before the rehearsal process and allow more time for r&d to produce a script with the help of a script consultant. While directing, another valuable finding for Lizzie was the importance of collaboration. Particularly because of the negotiation and discovery dynamic it produces. Going back to the r&d stage for script writing, she admits how challenging it was to translate the improvisations to the final script. To conclude, she states how successful the project was on achieving its aim of ‘stimulating reflection and debate about the historical reality behind the story of Dorothy Lawrence and the contemporary questions it raises about mental health, conflict and gender discrimination’ (Crarer, 2016). As an example of this success, she accurately mentions the long-term impact effect of both the exhibition for ‘Wiltshire at War’ and the films produced for the Historical Association. Activity Location his section is explained by The Arts Council as a section that gives them statistical information about the activity of the project: where it happened, who was involved and the outcomes (ACE Form’s explanation, 2016). Since this was a touring performance, this section shows a comparative table on which we listed all of the venues we performed in with full details. It also compares the actual box office from the expected income.

· Extended Placement · Preliminary tour schedule Start date

End date

Name of venue

04/03/ 04/03/ The Pound 2016 2016 arts centre 07/03/ 07/03/ Bath Spa 2016 2016 University

10/03/ 10/03/ The 2016 2016 Wardrobe Museum 11/03/ 11/03/ Ruskin 2016 2016 College Oxford 21/03/ 21/03/ Salisbury 2016 2016 Playhouse Salberg Studio 30/06/ 01/07/ Chalke Valley 2016 2016 History Festival 08/07/ 08/07/ Bradford-on2016 2016 Avon Library 11/07/ 11/07/ Hayesfield 2016 2016 Girls' School Bath 07/07/ 07/07/ Hamilton 2016 2016 House, Bristol

Venue contact

Russ Tunney (Artistic director) 01249 712618 Alison Hems (Head of MA Heritage Management) 01225 876363 Simon Cook (Curator) 01722 419419 Tracy Walsh (Academic Co-ordinator Law and ILTUS) 01865 759634 Jo Newman (Theatre Fest West programmer) 01722 320 117 James Holland (Co-Chair & Programme Director) 01722 781133 Peter Waterman (Librarian) 01225 713716 Darian Nelson (Head of Drama) 01225 426151 Deborah Ward (CoResist Programmer) 07534 415245

Post Local Venu No. No. Attend Financial Box Box code authorit e performan Atten ee arrange office offic y capac ce / ding estima ment potenti e ity exhibition te al actu days al SN13 Wiltshire 101 1 33 No Box office 960 310 9HX split SN13 Wiltshire 40 0BZ

Guarante e

SP1 2EJ

Hire

495

398

Other

400

220

SP2 Wiltshire 146 7RA

Box office 1,577 split

878

SP5 5ET

192

Guarante 2,356 e

1,805

BA15 Wiltshire 35 1BY

Other

BA2 Bath and 330 3QX North East Somerse t BS1 City of 50 3QY Bristol

191

Guarante e

Box office 390 split

Wiltshire 45

OX3 Oxford 9BZ

Wiltshire 250

240

People that benefited from your activity n this section it was necessary to show numbers of how many people benefited from the activity of the company. It includes: ‘Participants’, those who joined the activity, for instance going to the workshops; ‘Audience’, those who assisted to the performance or exhibition, also including those who had access to any printed, recorded or online material available.

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How many people do you estimate benefited from the activity? 'Participants' means people doing the activity, including education workshops. 'Audience' includes people going to an exhibition or performance, and people getting access to work that is printed, recorded, broadcast or available online.

· The Heroine Project Presents ·

The boxes below are pre-populated with what you estimated in your original application. Please edit the figures to reflect the actual numbers as accurately as you can. Numbers benefitting from this activity: Artists

Participants

468

Audience (live)

30702

Audience (broadcast, online, in writing)

182439

Total

213627

Results of your activity

Please give the results of your activity. Enter '0' (zero) in any field which is not relevant to your activity. Number of new products or commissions

Period of employment for artists (in days)

Number of performance or exhibition days

481

Number of sessions for education, training or participation.

('Participation' means people doing the activity. Divide the day into three sessions - morning, afternoon and evening. A 'session' is any one of, or part of, one of these. For example, a half-day education workshop would be one session.) People benefiting from your activity What are the age ranges of the people who have benefitted from your activity? Selected age ranges Please tick all relevant boxes: Children under five

Young people aged 12 to 15

Adults aged 25 to 64

Children aged five to 11

Young people aged 16 to 19

Adults aged 65 and over

Young people aged 20 to 24

Was the activity directed at, or particularly relevant to, any of the following groups of people? Ethnicity of beneficiaries Asian or British Asian Black or British Black Chinese

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Other

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Not culturally diverse Disability status of beneficiaries Not disability specific

ue to the multiple platforms of content created by the project, the numbers grew massively. Since the exhibition for ‘Wiltshire at War’ will continue until 2019, and an estimated impact of 5 years from the films for the ‘Historical Association’ was taken into account, the audience numbers grew significantly.

· Extended Placement · Statement of income and expenditure his section is a summary of the total expenditure and income of the activity the ACE agreed to finance. Therefore, there is a comparative table on which the budget of the original application is pre-populated on a column called ‘original’. In comparison we had to fill the ‘actual’ column with the figures that were actually used in the project and add new lines for those things that were not in the original budget.

Income for your activity Arts Council grant applied for

£6,058

Actual Arts Council grant

£6,058

Select 'Edit' at the end of each row to provide us with the actual amounts for each budget line. Click 'Add Income line' to add any additional sources of income. Income from other sources Income heading Earned income Earned income Earned income Earned income Earned income Earned income Local authority funding Other public funding Private income Income total

Description Ticket sales Guarantees from venues Programme sales Workshop income Chalke Valley History Festival booking HISTORICAL ASSOCIATION Commissioning fee for short films Wiltshire The Chalke Valley History Festival Trust

Income original £ £863 £900 £256 £100 £2,347 £1,634 £795

Income actual £ £1,578 £1,150 £93 £100 £2,500 £713 £1,634 £794

£12,953

£14,620

Income notes You should explain any differences between the actual figures and the original budget figures in this space using the relevant budget heading. EARNED INCOME: TICKET SALES: POUND ARTS CENTRE - £106 WARDROBE MUSEUM + £102 RUSKIN COLLEGE + £32 SALISBURY PLAYHOUSE (split not guarantee) + £496 FOVANT VILLAGE HALL (open dress rehearsal donations) + £71 HAMILTON HOUSE (additional venue) + £144 BRADFORD ON AVON LIBRARY (additional venue) + £76 GUARANTEES: SALISBURY PLAYHOUSE (split not guarantee) - £400 HAYFIELD GIRLS' SCHOOL (additional venue) + £400 BRADFORD ON AVON LIBRARY (additional venue) + £250 PROGRAMME SALES: Total programmes sold 93, not 200 Net programme price £1, not £1.28 CHALKE VALLEY HISTORY FESTIVAL BOOKING: Original estimate @ £2347 Sponsorship from Gore Browne Investment Management + £153 HISTORICAL ASSOCIATION Commissioning fee: for 3 short films based on 'Over the Top' to be embedded in a downloadable scheme of work on their website (for more information see 'EVALUATION' section; for contract with HA see 'ATTACHMENTS' section)

Expenditure for your activity

Select 'Edit' at the end of each row to provide us with the actual amounts for each budget line. Click 'Add spending line' to add any additional items of expenditure.

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· The Heroine Project Presents · Spending (expenditure) activity for your activity Expenditure heading Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Artistic spending Date Printed: 19/08/2016 13:29

Description Expenditure original £ ARTISTIC ADVISOR FEES: Kath Burlinson day rate £440 @ £150 + travel @ £70 x 2 DIRECTOR FEE: day rate @ £73 + subs @ £16.25 £1,071 x 12 days PERFORMER FEES: day rate @ £73 + subs @ £3,990 £16.25 x 20 days + travel @ £210 x 2 performers MUSICAL DIRECTOR FEE: day rate @ £73 + subs £893 @ £16.25 x 10 days STAGE MANAGER FEE: DIRECTOR FEE: day rate £1,250 @ £73 + subs @ £16.25 x 14 days RECORDING ENGINEER: discounted day rate @ £179 £73 + subs @ £16.25 x 2 days REHEARSAL ROOM HIRE: Ruscombe Village Hall £640 @ £80 p/d x 8 days COSTUME HIRE: Bath Theatrical hire @ £135 + £245 Gladrags Semley @ £110 VENUE HIRE: The Wardrobe Museum @ £100 £100 TOUR TRAVEL: total mileage @ 600 miles x 16p £192 p/m x 2 vehicles HERITAGE ENGAGEMENT MANAGER: day rate @ £657 £73 x 8 days + (subs @ £16.25 + travel @ £20 x 2 days) EXHIBITION MATERIALS: foamex graphics panels, £175 pencils, postcards CORSHAM WORKSHOP FEES: 4 sessions @ £680 £150 + room hire @ £20 ph x 4 h UNIVERSITY WORKSHOP FACILITATION FEES: £100 Elizabeth Crarer high rate @ £100 ROYALTY: 5% total company revenue from ticket £43 sales DIRECTOR POST-SHOW TALK-OUT FEES: £179 (CVHF) day rate @ £73 + subs @ £16.25 x 2 PHOTOGRAPHER: day rate @ £73 + subs @ £109 £16.25 + travel @ £20 PROMO PERFORMER FEE: Naomi Zara day rate @ £73 + subs @ £16.25 + rtn travel to Stroud @ 16p per mile PROPS: see notes below ACCOMMODATION: Basic bills for Stroud rehearsal accomodation SOUND: Soundsnap effects EXHIBITION COMMISSION: Textile artist Lorna Jones to creative interactive panel SOUND EQUIPMENT HIRE: Natural Theatre speakers @ £50 p/d x 1 day HA FILM DIRECTOR FEE: Eleanor Rogers day rate + buyout HA FILM PERFORMER FEE: Naomi Zara day rate + buyout HA FILM CAMERA OPERATOR FEE: Matthew Farrelly day rate @ £73 + £16.25 subs + £11 travel expenses HA FILM EQUIPMENT HIRE: Calumet Hire @ £83.16 + OT Event Technicians @ £62 + Direct Photographic HA FILM COSTUME & PROPS HIRE: Hampshire Wardrobe @ £37.50 + Bath Theatrical @ £71 + Natural Theatre HA FILM CATERING: est £10 per person x 5 people HA FILM EDITOR FEE: Eleanor Rogers day rate

Expenditure actual £ £300 £1,160 £4,122 £893 £1,250 £179 £595 £180 £100 £192 £657 £64 £856 £100 £79 £179 £60 £89 £105 £150 £11 £110 £50 £250 £250 £100 £157 £134 £43 £150 Page 13

· Extended Placement · Expenditure heading Artistic spending Artistic spending Artistic spending Making your performance accessible Making your performance accessible Making your performance accessible Making your performance accessible Developing your organisation and people Marketing and developing audiences Marketing and developing audiences Marketing and developing audiences Overheads

Description Expenditure original £ HA FILM PRODUCER FEE: £73 day rate + subs @ £16.25 travel + travel @ £11 HA FILM POST-PRODUCTION COSTS: Music @ £70; repairs @ £23 CORSHAM WORKSHOPS COSTUME HIRE for workshops and performance on 25th October CORSHAM WORKSHOP PARTICIPANT £480 TRANSPORT: Spurgeon's minibus @ £120 x 4 round trips CORSHAM WORKSHOP PARTICIPANT £280 REFRESHMENTS: £70 per session x 4 sessions TICKETS for Young Carers attending Corsham £85 workshops 10 tickets @ £8.50 CORSHAM WORKHSOP Participant liaison and additional planning day rate @ 73 x 1 day B&NES LIBRARY DIGITAL DISPLAY BOARD £15 RENTAL PROGRAMME DESIGN and PRINTING: Graphic designer discounted rate @ £50; 200 programmes @ £43 +£3 p&p PRINTED PUBLICITY: A4 Posters x 20 @ £12.80 + p&p @ £3 ONLINE TICKET PROCESSING FEES: (Wardrobe £22 performance) (36 sales @ £11 x 3.5%) + (36 sales x 20p) ADMINISTRATION: day rate @ £73 x 7 days £511

Overheads Assets - buildings, equipment, instruments and vehicles Other CONTINGENCY: @ 5% total expenditure If you are disabled or Deaf, additional access or support cost you need to manage the activity Expenditure total

Expenditure actual £ £100 £93 £150 £300 £378

£73

£106 £16 £15 £600

£617

£12,953

£14,396

he lesson learnt from this specific item on the ACE evaluation form is the importance of budgeting and of being aware of the monetary side of any venture. It is easy to let yourself go when you are working with artists and you want to produce the best you can do. But every little thing you do must be properly argued and you must be sure that is for the best of the project. Especially when you are using money from a grant. Otherwise you will find yourself going over budget with possibly unnecessary expenditure. Date Printed: 19/08/2016 13:29

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· The Heroine Project Presents · Expenditure notes You should explain any differences between the actual figures and the original budget figures in this space using the relevant budget heading. ARTISTIC SPENDING Artistic advisor fees: Agreed £300 flat fee Director fees: 13 days not 12 days (original calculations failed to take account of tech/first performance day) Performer fees: 21 days not 20 days; total travel claimed @ £374 not £420 Rehearsal room hire: Waldorf College Rehearsal room: £60 p/d x 6 days + (£55 on 24th Jan and 2nd March) plus Fovant Village Hall @ £50 p/d x 2.5 days Costume hire: Bath Theatrical @ £90 not £135; Gladrags @ £90 not £110 Exhibition materials: underspend Corsham workshops fees: MARCH: 3 workshops not 4; room hire @ £11 not £80. OCTOBER: 1-hour session at Corsham School @ £30 x 3; 1-hour session at Box Youth Club @ £30 x 3; 2-hour session at The Pound @ £80 x 2; 2-hour session at Corsham Town Hall @ £55 (for full explanation of modification to plans see 'ATTACHMENTS' section) Royalty: greater ticket sales than anticipated Photographer: Chris Kerslake, discounted rate and no travel Promo performer fee: Naomi Zara @ £73 per day + £16.25 subs x 1 day promotional video shoot for Corsham TV Props: Futon mattress @ £10; Ink @ £4; Paper @ £9.99; Flamebar - £13.25; paint roller @ £1.50; black paint @ £5; paper @£2.40; hook and eye fastenings @ £1.20; newspaper @ £0.20; white thread @ £1.70; shoe dye @ £4.95; furniture pads @ £4.49; bolts @ £4.48; blanket @ £5; bucket @ £5; £20.92 paint, brackets, bolts; £10.94 cable ties Accommodation: omitted in original calculations Sound: at the request of the sound designer Exhibition commission: using money saved on exhibition materials Sound Equipment hire: for additional performance at Bradford on Avon HA (Historical Association) Film: 3 short films commissioned by the HA based on 'Over the Top' (see 'EVALUATION' section, and 'ATTACHMENTS' section). Total HA commissioning fee = £713. Remaining £557 taken from THPP budget surplus. Director and performer fees based on Equity non-broadcast rates (license to use negotiated in lieu of repeat fees). Camera operator and producer fees based on THPP standard day rate @ £73 + £16.25 subs + travel Catering recommended by film-maker (long shoot day) Corsham Workshop costume hire: based on discussion with Bath Theatrical Hire - 70 outfits, from 5th - 26th October. MAKING YOUR PERFORMANCE ACCESSIBLE Corsham workshop participant transport: MARCH: No participants took up the offer; OCTOBER: round trip to The Pound @ £100 x 2; round trip to Corsham Town Hall @ £100 x 1. Corsham workshop participant refreshments: MARCH: Domino\s Pizza @ £19.99; Pound Arts Centre £43; OCTOBER: Corsham School @ £30 per session x 3 sessions; Box Youth Club @ £30 per session x 3 sessions; The Pound @ £45 per session x 2 sessions; Corsham Town Hall @ £45 per session x 1 session Tickets for 'Over the Top' for Corsham Young Carers: no-one took up the offer Date Printed: 19/08/2016 13:29

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· Extended Placement · Corsham Workshop Participant liaison and additional planning: meetings with Corsham School, Box Youth Club members, Corsham Local Youth Network, The Pound, The Natural Theatre Company to maximise the impact of the October workshops MARKETING AND DEVELOPING AUDIENCES B&NES library digital display board: No space to advertise Programme Design and printing: not accounted for in original budget Printed publicity: required for additional venues in July OVERHEADS Online ticket processing fees: fewer sales of greater value Administration: Deborah Ward additional marketing for additional venues @ £73 + £16.25 subs p/d x 1 day

Support in kind for your activity Select 'Edit' at the end of each row to provide us with the actual amounts for each budget line. Click 'Add support line' to add any additional sources of support. Description ARTISTIC SPENDING: Rehearsal room hire, The Pound @ £20 p/h x 6h ARTISTIC SPENDING: Costume hire: The Natural Theatre Company @ £45 p/d x 20 days ARTISTIC SPENDING: Sound Recording engineer discount ARTISTIC SPENDING: Sound equipment hire, The Natural Theatre Company @ £50 p/d x 1 day ARTISTIC SPENDING: Mentoring and budget management, The Pound MARKETING AND DEVELOPING AUDIENCES: Marketing support, The Pound OVERHEADS: WaW exhibition transport @ £75 p/d x 5 days MAKING YOUR PERFORMANCE ACCESSIBLE: Spurgeon's Young Carers Transport for young people to performanc ARTISTIC SPENDING: Rehearsal and tour accommodation, Cotswold holiday cottage @ £300 p/w x 3 weeks ARTISTIC SPENDING Location, filming and editing costs for online trailer, Corsham TV ARTISTIC SPENDING: Film of performance by Martin Head ARTISTIC SPENDING: photography: Chris Kerslake discount (usual day rate £150) PROGRAMME DESIGN: Graphic designer discount (usual day rate £150) ARTISTIC SPENDING: HA FILM Equipment hire ARTISTIC SPENDING: SCRIPT CONSULTANT: Suzy Almond day rate @ £200 x 1 day

Income original £ £120 £900 £981 £50

Income actual £ £9 £945 £981 £50

£300 £250 £375 £120

£300 £250 £375

£900

£3,996

£2,000 £1,000 £100 £100 £300 £200 £7,510

Support in kind notes You should explain any differences between the actual figures and the original budget figures in this space using the relevant budget heading. ARTISTIC SPENDING: Rehearsal room hire, The Pound. Miscalculation in original application, and 2 workshops not 3. ARTISTIC SPENDING: Costume hire from Natural Theatre x 21 days MAKING YOUR PERFORMANCE ACCESSIBLE: No young carers took up the workshop/transport offer ARTISTIC SPENDING: Corsham TV online trailer (see 'ATTACHMENTS') ARTISTIC SPENDING: Martin Head film of performance (see 'ATTACHMENTS') ARTISTIC SPENDING: HA FILM equipment hire: based on quote from Calumet Rental (for equivalent of camera loaned by 'History Bombs') Date Printed: 19/08/2016 13:29 ARTISTIC SPENDING:

SCRIPT CONSULTANT: Specialist advice sought following mid-term evaluation

How did we do? Your feedback is very important to us. The information you provide is reviewed as part of our internal quality assurance process. It helps inform us how we are managing the programme and the service we provide. Thinking about the grant you have received from us, how did we: a) Explain about eligibility to apply for funding? Very well

b) Explain the application process? Very well c) Manage your application for funding? Very well d) Respond when you contacted us for advice or information? Well

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Âˇ The Heroine Project Presents Âˇ

o summarise, the evaluation process is something that should begin with the design of the project. From the very moment you set the goals of the proposal, you must be always thinking of ways of measuring the success of that enterprise. Attention to detail is fundamental as a manager or director of any activity. In the end, all the responsibility of the triumph or failure is over to you and it is your duty to find the best way to make it work. From the setting of achievable goals, measuring of success (evaluation) and the monetary managementgood project management needs to include all of these.

Film-making for Historical Association Âˇ 13th August 2016

· Extended Placement ·

Designing my own project

izzie developed ‘Over the Top: The true life-tale of Dorothy Lawrence’ through the use of a tool called Logic Model. This is a project evaluation framework which highlights Assumptions, Resources, Activities/Processes, Outputs, Outcomes and the Impact produced. Used as an evaluation framework it is helpful to measure the success of a venture by comparing the impact produced during the project, to the assumptions stated in the beginning. As a method for planning and developing an idea it is useful to narrow down the ideas or big dreams of a producer and making the producer aware of what is needed to execute his project.

· The Heroine Project Presents ·

Logic Model Lizzie’s Framework The Heroine Project Presents ‘OVER THE TOP: The true-life tale of Dorothy Lawrence

ASSUMPTIONS

RESOURCES

GENDER That we become like that which we contemplate: manipulative onedimensional representations of women in popular culture are feeding increasing negative self-perception among women. (LINK TO EVIDENCE)

FINANCIAL Arts Council Grant

PROJECT LOGIC MODEL

PROCESSES/ OUTPUTS ACTIVITIES

OUTCOMES

IMPACT

PRE-PRODUCTION 7 performances Marketing 7 post-show Budget management discussions

Audience members/participants NATIONAL have made a personal connection with the story of A measureable change in Chalke Valley History attitudes towards the Dorothy Lawrence, have Trust grant deepened their understanding of contemporary representation Contracts A new panel touring women’s roles in the First World of gender in culture – greater Corsham Area Board awareness of injustice and a Wiltshire until 2018 War; and have reconsidered Local Youth Network move towards a balanced Stage management on existing Wiltshire their attitudes towards the funding at War exhibition representation of gender in the and considered debate. present day. 8 DAYS REHEARSAL, Gore Browne There is a greater, more 4 DAYS RE5 workshops investment management REHEARSAL nuanced understanding of Offering a positive women’s experience in the representation of a woman sponsorship Young people (including those TARGETS First World War, by the end from history whose from vulnerable/excluded 7 PERFORMANCES of the centenary period. behaviour challenged the - a Salisbury groups) from Corsham have: social norms will stimulate RELATIONSHIPS - learnt about local history. 7 POST-SHOW audience reflection on the negative Natural Theatre - local history - developed new theatre DISCUSSIONS gender stereotypes in the Dorothy’s story is used as an Company devising skills. groups present, inspiring awareness - reflected on their own attitudes example of a feminist counter4 WORKSHOPS - feminist and change. ‘Wiltshire at War: organization towards gender/war and mental narrative in teaching. with young people (CASE STUDY??) health. Community Stories’ s -had a positive and enjoyable young 1 WORKSHOP with HISTORY Partner venues students on the MA people experience doing theatre. Understanding the past is REGIONAL course in Heritage studying the key to understanding the Corsham School history MA Students in Heritage The story of Dorothy Management present. (LINK TO and/or Management have been inspired Lawrence, and her connections Corsham LYN EVIDENCE) to consider original ways in which with Salisbury are known drama at Spurgeon’s Young CREATION OF NEW The Heroine Project Presents PROJECT LOGIC MODEL to engage with artists. They have about by people in Wiltshire. KS3/4. EXHIBITION ‘OVER THE TOP: The true-life Carers tale of Dorothy Lawrence a more detailed understanding - Young CREATIVITY CONTENT That collaborative devising HUMAN of the practical issues that need Greater and more creative carers is the most effective way to to be addressed when community engagament in - Museums understanding the facets of 1 Project theatre-making processes in users collaborating with artists. an historical person. manager/director/ the region. POSTAll partner organizations have Producer/marketing PRODUCTION: gained what they needed to Manager/lead Performance enables There is more imaginative and Budget management through their involvement in the fruitful collaboration between audiences and participants workshop facilitator to think feelingly about a project. Heritage Managers and arts Marketing particular set of issues and 2 Performers/assistant practitioners in the southwest. moment in history, through workshop facilitators Creating new online ARTISTIC embodying the complex content for Wiltshire We have created a theatre emotional reality of a single 1 artistic mentor at War and The piece about Dorothy’s life of high LOCAL (CORSHAM) life. (LINK TO OTHER CASE Heroine Project artistic quality, that is both More young people STUDY) historically accurate and offers a (including those from 1 heritage engagement Presents new perspective on her life. vulnerable/excluded groups) manager regularly engage with arts We have created a show that ORGANISATION fulfils the authentic shared artistic activities in the area. EVALUATION 1 stage manager That collaboration between vision of the collaborators. multiple partner Local organisations work ORGANISATIONAL organizations on a project The Heroine Project More people in Wiltshire know together more regularly and will optimize efficient about Dorothy Lawrence and her effectively. Presents delivery of outcomes, and connection with the county. maximize long-term impact. Now Heritage We have made a lasting and meaningful contribution to the material about Dorothy’s life That there is an appetite for The Pound arts centre the show amongst: an available in the public domain. booking systems, audience in the southwest, administrative and local history marketing support groups/museums users, THE HEROINE PROJECT supporters of new theatre Salisbury Playhouse PRESENTS work, feminist organizations, booking systems, Has developed organizationally young people aged 12+ in administrative and and artistically and has The Heroine Presents PROJECT LOGIC MODEL Corsham, MAProject students in developed the necessary systems marketing support ‘OVER THE TOP: The true-life tale of Dorothy Lawrence Heritage Management at for the effective planning and Bath Spa University delivery of the next Heroine Wessex Community (EVIDENCE: PREVIOUS R&D Action – financial Project. Each artist involved has FIGURES) systems developed artistically and technically.

Âˇ Extended Placement Âˇ

ince my placement agreement with Lizzie stated my desire to be able to take the project forward in a new direction, the last day of the placement she guided me through the production of my own logic model according to what I wanted to achieve with a project of my own. The basis for that work was a document I wrote in order to clear my mind when looking for ideas. The draft could be called a manifesto and it also was of help for stating the assumptions of the Logic Model.

Âˇ The Heroine Project Presents Âˇ

Manifesto

uman history has been shaped out of revolutions and drastic changes that have created the world as it is right now. Within every revolution, war or paradigm shift, history has found ways to celebrate the memory of certain icons of those historic events, moments. People whose outstanding participation in every movement made them a figure of their causes. But sadly, by doing this, history sometimes forgets the other people. The stories of all of those that pushed the leader to leadership can be as surprising and interesting as the stories of the heroes. Invisible people that made history but did not achieve fame. Stories of people that did significant actions that were underestimated or taken for granted. In addition to that, history has often leaned towards an androcentric vision of the world in which only men are worthy of success or triumph. Numerous exceptional women may have forged the future of entire generations and never received merit. Invisible heroines, who were set aside, misrepresented or overlooked because of gender reasons. South American history is not an exception to this. Independence heroes and heroines have been forgotten. People that fought along the icons of change and revolution and helped them forge their vision by talking, fighting or sharing with them, have been set aside from the pages of recorded history. But why leave the stories of the invisibles behind? What better way of understanding history than understanding the feelings of the invisible heroes? How can modern women

· Extended Placement · understand the old heroines without understanding the background that formed them? The environment that forced them into rebellion? For example, Colombian history of independence is full of courageous women who lead armies or encouraged the masses to rise up against tyranny and oppression. Women that were diminished by the tyrants and never got their glory back. Or women who were simply silenced and in silence they found extinction. An example of these invisible heroines in history is the story of Manuela Beltran. In an action of pure bravery, Manuela Beltran protested publically by breaking the Barlovento’s Army edict on March 1781. In that edict the Spanish crown decreed new taxes on their colonies (Uribe-Duncan, Undated). By protesting, Manuela Beltran started an uprising of the common people, the Commoners Revolution, which expanded to other regions and sparked what later became the independent quest. After the public protest, Manuela vanished from history and nobody knows anything about her. Some say that she escaped to avoid retaliation. But what if she did not? What if she stayed and fought in the shadows? What if she joined a greater mission? Or what if she stayed and kept her normal life? Would that take the glory out of her act? On the other side, Antonia Santos’ story is a bit more known probably because her father was a well-known merchant and founder of Pinchote, her place of birth. She was really committed to the independence cause and was actively involved with the insurgency. She and her family were always keen to the cause of liberty, and along with her brothers she 64

· The Heroine Project Presents · learnt to shoot and fight. But her actions have not had as much echo as they should have. She organized guerrillas, gave money and provided information until she was caught and executed (Uribe-Duncan, Undated). Antonia and Manuela Beltran are part of Colombian history known as the “Socarronas”. Called so because Socorro town was the centre of their operation. They are heroines. And even though their story is not as known as others, they have been recognised in different ways. But what happen to the stories of all the other women that fought those wars? The women who loose their husbands, sons, fortunes or even their lives in name of independence? How do we honour the invisibles?

· Extended Placement ·

‘The Invisibles’ Logic Model

nce the writing of the manifesto cleared my mind about the things I wanted to achieve, I started to write the assumptions that would lead the project. In Lizzie’s framework the assumptions correspond to the first column. By starting with the writing of those assumptions, I wanted to build the model following the sequence of the columns: Assumptions - Resources - Activities/Processes - Outputs - Outcomes and Impact. Nonetheless, when Lizzie read the manifesto and my assumptions, she turned the framework backwards and guided me in the construction from back to front. Based on the assumptions and the Impact I wanted to produce in my community, we started to build an hypothetically finished product going backwards: Impact - Outcomes - Outputs - Activities/ Processes - Resources. This is the result. Assumptions • History: You can’t know who you are if you don’t know where you come from. By appropriating their own history a community can easily project their own future or at least understand their present. • Imagination: Fantasy is powerful and must be encouraged. By encouraging the audience to imagine the stories of the invisibles based on a given background, they can get more deeply

· The Heroine Project Presents · engaged with the creative project and also feel history as their own. • Collaboration: By mixing education, story telling and theatre, an audience can get closer to history and cultural experiences. This will also secure future engagement. • Organisation: That collaboration between multiple partner organizations on a project will optimize efficient delivery of outcomes, and maximize long-term impact. By using artistic expressions and tactics in education, preconceptions about arts can be changed and exemplify their importance. Impact • Increase the engagement with art in every sector of society. • Increase the interest of new generations in the artistic expressions. • Incentivize collaborative work in the arts to increase the impact of the messages. • The social and economic value of arts and artists will be more widely recognized in Colombia. • Increase the interest of the general public in their history and their heritage. • Contribute to education focused on diversity and respect to the differences.

· Extended Placement · Outcomes • This project will successfully engage with people from different sectors of society by performing activities in different schools on which both parents and kids get together to participate. • We will demonstrate the successful collaboration between historians, designers, theatre makers, educators, animators and filmmakers. • 100% of the people that participate in the workshop performances will manifest their interest in participating again. • We will be able to create a reputation as an artistic company that contributes to education and the economy of the country through the Culture Ministry. • 100% of the people who gets involved with the project will manifest interest in researching more about history of the country. • As a result of the mentoring scheme there will be a self-sustained young club that will continue the work done in the project. • By teaching about the roots of the actual society, people will become more sensible to differences in their communities. • The educational videos mixed with interview videos created after the performances will reach over ten thousand views and got national interest.

· The Heroine Project Presents · Outputs • 6 workshop performances. 3 presented in higher income schools and 3 in lower income schools. • Publish articles in Diners magazine about our model and its reach. Give a talk to undergraduates of Andes University and a talk to CESA University about managing arts. • Collect survey data from participants before and after the workshop performances. • The mentor scheme consists of twice in a month tutorials with the community facilitator and his pupils. Our team of specialists would lead the tutorials over 6 months. • 3 Videos of 10 minutes each, on each of our key themes: history of migrations and race mixture, independence of the crown and women in history. The material includes animated material and pieces of interviews with the audiences we have worked with.

· Extended Placement · Processes/Activities Preliminary Process • Building contacts and finding the schools that will participate. • Find mentors. • Recruiting a producer. • Partnering with specialists: ◊ Recruiting historians. ◊ Recruiting theatre makers. ◊ Recruiting educators. ◊ Recruiting animators. ◊ Recruiting filmmakers. • Research into funding sources, sponsorship and other income. • Research into the employment law and my status as an individual/organization. • Apply for the money and get it. • Contracting collaborators / partners. R&D Process • 6 half day sessions over 2 months. First session (1 full day) led by me on which I am a facilitator for brainstorming ideas for the aim we have. • After 1st session, every specialist will have a duty to look at and prepare. Each one of them will have to lead a session each. • The sixth session will be led by me to finalize the details of the concrete proposal ready to be sent to

· The Heroine Project Presents · the partner venues, fundraisers, etc. Delivery Process (To Be Decided At The End Of R&D) • Confirming partnerships deals with venues. • Second round of fundraising or negotiating. • Additional rehearsal and development time. • Second round of contracting for materials, tutorials, etc. • Sourcing resources (props, costumes, additional members of staff, transportation…) • 6 full school days to perform the workshops. • Animation time. • Editing time. • 2 university talks one hour and a half each plus Q&A. • 1 full day of analysing data from surveys. • Two monthly tutorials of 3 hours each for 6 months. • Evaluation period 1 month. • Writing articles.

· Extended Placement · Resources Relationships • Natural Theatre Company. • The Heroine Project Presents. • Compañía Nacional de las Artes. • Teatro el Muro. • Teatro Nacional. • Museo Nacional de Colombia. • Jacobsen relationships with Nueva Granada School, Andino, English School. • Work with the Culture Ministry through the National Museum, by using the museum as headquarters. Mentors • Lizzie Crarer. • (Waiting for research). Human • One story-teller that makes the history fun enough to engage the audience. • (Waiting for research). Organisational • (Waiting for research). Financial • (Waiting for research).

Âˇ The Heroine Project Presents Âˇ

s it can be seen, if the information shown above is organized in the same order of the original framework, there is a complete plan of action for the production of an experience that merges education, history, theatre and visual arts. Furthermore, if it is successfully developed, the project will be capable of generating the long term effects that were established in the Impact section. However, the exercise is not yet completed. As the reader can notice, the column that corresponds to Resources still has empty fields that depend on further research from me. Since I am currently living in the United Kingdom, it is really hard to find certain information while being far from the artistic environment of Colombia. Even though there are elements that are possible to find through the web, it is very important for me to engage with the actual artistic environment and get a deeper understanding of its necessities and requirements. This is an on going work that will continue transforming over time and over my future experiences. Regardless of the actual development of this exact project or a variation of it, the values and the dreams on which it stands are now and are going to be the ethics on which I wish my labour to be sustained in the future. My training as designer made me keen to collaborate, now the experience gathered during the MA has reaffirmed my conviction. Furthermore, it has nourished my vision and directed my intentions towards the creation of valuable experiences that involve education and the arts to generate engagement and new audiences. 73

· Extended Placement ·

Resources Banks, M. (2016) Art meets audience: how to create unique, immersive experiences[Online] The Guardian. Available from: http:// www.theguardian.com/culture-professionals-network/2016/ may/13/art-audience-how-to-create-unique-immersive-experiences [Accessed May/17, 2016]. Burden, A. (2016) Talking session with Andy Burden, director of The Natural Theatre Company. Crarer, L. (2016) ‘Dorothy at the Barn’ Talking session with Lizzie Crarer, director of The Heroine Project Presents. --- (2016) Agreement Between Lizzie Crarer of The Heroine Project Presents and David Gallo Caycedo of Bath Spa University. Contract ed. --- (2016) Lizzie Crarer talks about remembering and honouring Dorothy Lawrence through the production, ‘Over The Top’.[Online] Available from: http://www.wiltshireatwar.org.uk/news/ lizzie-crarer-talks-about-remembering-and-honouring-dorothy-lawrence-through-the-production-over-the-top/ [Accessed May/29, 2016]. --- (2016) Activity Report Form. Activity Report ed. Available from:[e-book accessed 19th August 2016].

· The Heroine Project Presents · Handy, C. (1990) Understanding voluntary organizations : how to make them function effectively. London : Penguin, 1990. Inyang, E. (2016) ‘Community theatre as instrument for community sensitisation and mobilisation’. Tydskrif Vir Letterkunde, (1), pp. 149. Jackson, A., Rasmussen, n.,B. & Østern, n.,A. (2001) Playing betwixt and between, the IDEA dialogues, 2000. Jackson, A. (2005) The Dialogic and the Aesthetic: Some Reflections on Theatre as a Learning Medium. University of Illinois Press. Available from:[e-book accessed. Jackson, T. (1993) Learning through theatre : new perspectives on theatre in education. Taylor & Francis Ltd / Books. Ministerio de Cultura de Colombia (2010) Legislación y normas generales para la Gestión, Protección y Salvaguardia del Patrimonio Cultural en Colombia. Bogotá, DC: Available from: http:// www.mincultura.gov.co/areas/patrimonio/publicaciones/Documents/L-Legislaci%C3%B3n%20y%20normas%20generales. pdf [e-book accessed. National Congress of the Republic of Colombia (1997) Law 397 General Law of Culture. Law ed. Barranquilla: Available from:[e-book accessed 6th of January 2016].

· Extended Placement · Plautz, D. (2005) ‘New Ideas Emerge When Collaboration Occurs’. Leonardo, 38 (4), pp. 302-309. Prendergast, M. & Saxton, J. (2009)’Chapter Three: Theatre in Education’. In: APPLIED Theatre: International Case Studies & Challenges forPractice Intellect Ltd, pp. 29-49. Sauter, W. (2000) The theatrical event: dynamics of performance and perception. The Heroine Project Presents What We Are[Online] Available from: http://www.heroineprojectpresents.com/#!about/ c139r [Accessed May/28, 2016]. --- Who We Are[Online] Available from: http://www.heroineprojectpresents.com/#!who-we-are/cemd [Accessed May/28, 2016]. --- Who Was Dorothy Lawrence?[Online] Available from: http:// www.heroineprojectpresents.com/#!about2/cndz [Accessed May/29, 2016]. Thompson, J. (2012) Applied Theatre. 4 ed. ed. GB: Peter Lang Ag. University of Warwick (2015) Enriching Britain: Culture, Creativity and Growth The 2015 Report by the Warwick Commission on the Future of Cultural Value[Online] University of Warwick. Available from: http://www2.warwick.ac.uk/research/warwickcom76

· The Heroine Project Presents · mission/futureculture/finalreport/warwick_commission_final_ report.pdf [Accessed November / 6, 2015]. Uribe, D. (2009) Historia de las Independencias. Aguilar. Uribe-Duncan, J. (Undated) Mujeres en la independencia Colombiana: conmemoraciones actuales. London: Kings College, University of London. Available from: https://www.nottingham.ac.uk/ genderlatam/documents/jeannette-uribe-las-socorranas3.pdf [e-book accessed 24th July 2016]. van Erven, E. (2001) Community theatre : global perspectives. London: Routledge. Winston, J. (2005) ‘Between the aesthetic and the ethical: analysing the tension at the heart of Theatre in Education’. Journal of Moral Education, 34 (3), pp. 309-323. Woolf, F. & Arts Council (2004) A Guide to evaluating arts education projects[Online] Available from: http://culturehive. co.uk/resources/a-guide-to-evaluating-arts-education-projects [Accessed July/25, 2016]. Wooster, R. (2007) Contemporary theatre in education. [electronic resource]. Bristol : Intellect, 2007.