The other day I was walking down the High Street and was stopped by two students with recording equipment. They asked if I would agree to be interviewed. On saying yes, they both uttered sighs of relief; it seems I was the first and they had almost given up.
Their question was simple. Why had Lincoln been voted a top tourist destination?
My response was equally simple. It is s city steeped in history, we have it all from Romans to 19th century engineers, with Gothic Cathedral and Norman Castle to boot.
I went on my way slightly embarrassed that I had forgotten Magna Carta. It also set off a train of thought that prompted me to ask the bigger question at the head of this article: what kind of a city are we?
Some time ago I was involved in discussions about whether Lincoln should seek to be a World Heritage Site. It would put us firmly on the map and encourage even more visitors.
But is that what we are, a city that once was something.
We are much more: two universities, a college reaching out across the globe, world class engineering, an arts sector that is getting stronger all the time. All good, but are they what we are? Aren’t they rather, what we do?
I then saw on the evening television news that a famine was fast approaching in Ethiopia. I thought, oh no, not again. I would like to say that the ‘not again’ referred to the appalling famine that hit that country in the 1980s. I have to admit that it was rather, oh no, not another crisis seeking help.
Whether we like it or not, and indeed we do not like it, humanitarian crises of huge proportions are likely to characterise our world more and more, not least with global warming. It is not only global crises, there are those much closer to home, those in our city without homes, those in need. It was once said that the poor will always be with you. Too true.
A little while ago I heard about a world wide movement called Compassionate Cities. This really is a loose collection of cities all around the world that had concluded that what they are is typified by the word compassionate.
It links to the local movement slowly emerging here called Compassionate Lincoln. This isn’t yet another organisation seeking to help those in need; there are already many of those. It is more a description of whom we all are. It seeks to draw together the strands of what is already happening to make it more accessible for both those in need and those wishing to help. It came about as a result of the frustration of seeing images of refugees in great need but without any way of helping. The feeling of compassion was there, but not the means to express it in a way that could make a difference.
#CompassionateLincoln is a campaign to encourage compassionate, positive and pro-active community-led responses to some of the social challenges that affect our beautiful city and those who call it home.
People in Lincoln are compassionate, but to be effective we need to be better joined up. More fundamental though is whether we citizens want to take it one step further and say out-loud to the world who we are?
At the end of the day, it is a choice for all of us, citizens of the Lincoln. What sort of a city are we?
My history of British Manufacturing
My history of British Manufacturing
Thursday, 17 December 2015
Monday, 7 December 2015
Acting to make the world a better place
The job of a charity is to make the world a better place. I have heard this said more than once and it got me thinking.
I have supported charities since my teens when I realised just how lucky I was to have a home. I have also worked for some, but I had never really thought of charities having such a big, almost impossible task.
Of course the person who said it to me was suggesting that charities can make the world a better place in many tiny ways, not in one huge all encompassing sweep.
So, I thought of those charities which we as a family support and have supported, those for which I have worked and others I know. I guess it is true: to a greater or lesser extent charities do indeed seek make the world a better place.
My involvement in the arts sector is relatively new, and so I hope I may be forgiven for not knowing that many arts venues and organisations are charities. A good many do indeed call themselves charities, but are they really? Do they really make the world a better place? Or do they just provide entertainment for a select few? After all, all I do is to buy my ticket and attend a performance. What is charitable about that?
This matters for all sorts of reasons. All charities, these days, must be able to prove that the provide a public benefit. It is no good making a little bit of the world feel better for a regular audience. The role has to be much bigger.
So do they make the world better?
There is a good deal of research that suggests that by going to a live performance you do feel better. In early December, the Lincoln Cultural and Arts Partnership is running a seminar on Arts and Happiness to explore this assertion in a local practical context.
It is though more than attending a performance. Participating has been shown to improve confidence. Children who perform in one way or another are better prepared for what life has in store for them. Music has been shown to improve a child’s learning in many other areas of the curriculum.
Art, music, theatre, poetry, literature all enable us to express feelings or concerns that are difficult to put in plain words. I was talking to a young woman who works with children to explore and overcome their difficulties through drama, and another who, through a spoken word competition, both improves the confidence of participants but also enables them to express what otherwise might stay worryingly inside. This surely is about making the world better. An example I came across a few years ago was about child protection. I didn’t truly grasp the issue until I had seen it portrayed in drama; it opened my eyes.
Organisations are challenged by government to reduce obesity, to cut the amount people drink, to eliminate smoking. Endless words can be written, schemes launched, but it might just be that the penny will only truly drop when the issue is presented imaginatively in drama or dance. I don't think this is so far fetched.
Art, though, is also much closer to home. It makes us happy. Wouldn’t it be wonderful if it were accessible to all?
This, I think is the point. An arts organisation benefits the public if it offers art that will appeal across a broad spectrum, that reaches out to people and groups for whom art is remote and at a price that is affordable to as many people as possible.
This article appeared in the Lincolnshire Echo on 3 December 2015
I have supported charities since my teens when I realised just how lucky I was to have a home. I have also worked for some, but I had never really thought of charities having such a big, almost impossible task.
Of course the person who said it to me was suggesting that charities can make the world a better place in many tiny ways, not in one huge all encompassing sweep.
So, I thought of those charities which we as a family support and have supported, those for which I have worked and others I know. I guess it is true: to a greater or lesser extent charities do indeed seek make the world a better place.
My involvement in the arts sector is relatively new, and so I hope I may be forgiven for not knowing that many arts venues and organisations are charities. A good many do indeed call themselves charities, but are they really? Do they really make the world a better place? Or do they just provide entertainment for a select few? After all, all I do is to buy my ticket and attend a performance. What is charitable about that?
This matters for all sorts of reasons. All charities, these days, must be able to prove that the provide a public benefit. It is no good making a little bit of the world feel better for a regular audience. The role has to be much bigger.
So do they make the world better?
There is a good deal of research that suggests that by going to a live performance you do feel better. In early December, the Lincoln Cultural and Arts Partnership is running a seminar on Arts and Happiness to explore this assertion in a local practical context.
It is though more than attending a performance. Participating has been shown to improve confidence. Children who perform in one way or another are better prepared for what life has in store for them. Music has been shown to improve a child’s learning in many other areas of the curriculum.
Art, music, theatre, poetry, literature all enable us to express feelings or concerns that are difficult to put in plain words. I was talking to a young woman who works with children to explore and overcome their difficulties through drama, and another who, through a spoken word competition, both improves the confidence of participants but also enables them to express what otherwise might stay worryingly inside. This surely is about making the world better. An example I came across a few years ago was about child protection. I didn’t truly grasp the issue until I had seen it portrayed in drama; it opened my eyes.
Organisations are challenged by government to reduce obesity, to cut the amount people drink, to eliminate smoking. Endless words can be written, schemes launched, but it might just be that the penny will only truly drop when the issue is presented imaginatively in drama or dance. I don't think this is so far fetched.
Art, though, is also much closer to home. It makes us happy. Wouldn’t it be wonderful if it were accessible to all?
This, I think is the point. An arts organisation benefits the public if it offers art that will appeal across a broad spectrum, that reaches out to people and groups for whom art is remote and at a price that is affordable to as many people as possible.
This article appeared in the Lincolnshire Echo on 3 December 2015
Tuesday, 10 November 2015
Zest Theatre - Thrive
Thrive is a play about trauma, that of the three teenage friends of one of their number who had died.
Zest Theatre who created it are based at Lincoln Drill Hall.
It is a wonderful example of how the Drill Hall can be a place that enables young talent to explore, to grow and here to produce great work.
I do think that this piece is great art. I came away deeply moved, in the way that I am by King Lear or by Hamlet. I am not saying that Zest are Shakespeare, but here they have caught that most difficult aspect of art - portraying the unsayable.
Shakespeare observed life to equip him to write authentically. Zest spent time with a Psychological Consultant in order to understand what children may undergo in such circumstances. I saw evidence that they allowed this understanding to work away in their unconscious minds and re-appear as utterly fresh drama.
The play in now touring the LOV network before a longer tour next year (we hope!)
Zest Theatre who created it are based at Lincoln Drill Hall.
It is a wonderful example of how the Drill Hall can be a place that enables young talent to explore, to grow and here to produce great work.
I do think that this piece is great art. I came away deeply moved, in the way that I am by King Lear or by Hamlet. I am not saying that Zest are Shakespeare, but here they have caught that most difficult aspect of art - portraying the unsayable.
Shakespeare observed life to equip him to write authentically. Zest spent time with a Psychological Consultant in order to understand what children may undergo in such circumstances. I saw evidence that they allowed this understanding to work away in their unconscious minds and re-appear as utterly fresh drama.
The play in now touring the LOV network before a longer tour next year (we hope!)
#CompassionateLincoln
#CompassionateLincoln is a
campaign to encourage compassionate, positive and pro-active community-led
responses to some of the social challenges that affect our beautiful city and
those who call it home.
Too often, the voices that we hear
the loudest are those of intolerance, judgement and criticism and it can seem
as though our sense of community has been lost.
Through #CompassionateLincoln we hope to help people to feel that they
can play a really positive role in making our city a supportive, safe and
welcoming place to live.
On 20th November from 7 to 10 pm, we
are holding an event at St. Mary’s Guildhall to celebrate World Hello Day – an
international day of community, getting to know your neighbours and extending the
hand of friendship. This will be an
evening of good food (please bring some food and drink to share), music and conversation and we will also be collecting
donations of warm winter clothes which will be donated to a local clothes bank
and also to a campaign to support refugees in Lesbos.
Click here to book your free ticket
Friday, 16 October 2015
Censorship may not be new, but it is worrying
In my research for my forthcoming book, War on Wheels, on the story of the mechanisation of the army in WW2, I read many accounts of captivity written by those who had spent years as prisoners of war. They were allowed to write home, but in the knowledge that everything they wrote would be seen by their captors. The result was letters that revealed nothing of the dreadful conditions under which they were forced to live.
This is perhaps an extreme example, but, in a way, all writers self censor in the light of their audience, but for other reasons too.
At the recent Lincoln Book Festival we heard from Andrew Morton how the British press had censored themselves in holding back from reporting a good deal about the abdication crisis. Their motivation was loyalty; nevertheless the effect was to hold back important truths.
We then had a panel of journalists considering the whole question of press freedom and censorship. It became clear that, whilst legal guidelines are now quite clear and edicts from government are few and far between, censorship is a current reality.
An example would be the rejection by the newspaper of an article because it makes a point that runs counter to the newspaper’s ‘brand’. We perhaps don’t think too much of papers having brands, but they do. There is a distinctive ‘Daily Mail’ brand, a ‘Guardian’ brand. These come into sharp relief at election time when they offer their voting advice.
A more blatant form came in the case of Lady Chatterley’s Lover where we heard that, as recently as the 1960s, an attempt was made to withdrawn this great novel from publication as being obscene.
There are then myths that become history and so censor other interpretations.
We listened to a talk on the Peasants Revolt only to discover that it was not the peasants who revolted but the emerging middle class. Juliet Barker’s painstaking research had turned upside down the assumptions of centuries. She also pointed out to me that we are quite wrong if we trace a line from Magna Carta to the Peasants Revolt; it is more closely linked in terms of documents with the Doomsday Book and was about the interaction of freedom and money. Our speaker for the children’s afternoon on Magna Carta pointed out just how often freedom is evidenced by people’s ability to deal freely with their own money.
There are also accepted truths which censor other opinions.
The Friday evening of the festival gave the audience the opportunity to dispel some myths about Islam and to understand better its origin and the way that it fitted with other contemporary religions.
The way Islam is reported is often to emphasise extremes. We heard of a faith that could hardly be more different, whose teaching builds on the Hebrew Bible and parallels much of Christianity. Yet, this is seldom if ever reported. It is hardly surprising perhaps that young Muslims become disenchanted.
If I look ahead, I wonder how the press will approach the European Referendum and whether both sides of the argument will receive a fair hearing.
The sort of censorship I have been talking about is perhaps inevitable in a free society. We just need to be aware of it. Having said this, we do in this country have a long and proud tradition of public service broadcasting. Perhaps one area for the new BBC charter would be a renewed commitment to give due space to views from across the spectrum.
Phil Hamlyn Williams - Trustee Lincoln Book Festival
Published in the Lincolnshire Echo 15 October 2015
This is perhaps an extreme example, but, in a way, all writers self censor in the light of their audience, but for other reasons too.
At the recent Lincoln Book Festival we heard from Andrew Morton how the British press had censored themselves in holding back from reporting a good deal about the abdication crisis. Their motivation was loyalty; nevertheless the effect was to hold back important truths.
We then had a panel of journalists considering the whole question of press freedom and censorship. It became clear that, whilst legal guidelines are now quite clear and edicts from government are few and far between, censorship is a current reality.
An example would be the rejection by the newspaper of an article because it makes a point that runs counter to the newspaper’s ‘brand’. We perhaps don’t think too much of papers having brands, but they do. There is a distinctive ‘Daily Mail’ brand, a ‘Guardian’ brand. These come into sharp relief at election time when they offer their voting advice.
A more blatant form came in the case of Lady Chatterley’s Lover where we heard that, as recently as the 1960s, an attempt was made to withdrawn this great novel from publication as being obscene.
There are then myths that become history and so censor other interpretations.
We listened to a talk on the Peasants Revolt only to discover that it was not the peasants who revolted but the emerging middle class. Juliet Barker’s painstaking research had turned upside down the assumptions of centuries. She also pointed out to me that we are quite wrong if we trace a line from Magna Carta to the Peasants Revolt; it is more closely linked in terms of documents with the Doomsday Book and was about the interaction of freedom and money. Our speaker for the children’s afternoon on Magna Carta pointed out just how often freedom is evidenced by people’s ability to deal freely with their own money.
There are also accepted truths which censor other opinions.
The Friday evening of the festival gave the audience the opportunity to dispel some myths about Islam and to understand better its origin and the way that it fitted with other contemporary religions.
The way Islam is reported is often to emphasise extremes. We heard of a faith that could hardly be more different, whose teaching builds on the Hebrew Bible and parallels much of Christianity. Yet, this is seldom if ever reported. It is hardly surprising perhaps that young Muslims become disenchanted.
If I look ahead, I wonder how the press will approach the European Referendum and whether both sides of the argument will receive a fair hearing.
The sort of censorship I have been talking about is perhaps inevitable in a free society. We just need to be aware of it. Having said this, we do in this country have a long and proud tradition of public service broadcasting. Perhaps one area for the new BBC charter would be a renewed commitment to give due space to views from across the spectrum.
Phil Hamlyn Williams - Trustee Lincoln Book Festival
Published in the Lincolnshire Echo 15 October 2015
Sunday, 27 September 2015
Offering a warm welcome to refugees could greatly enrich our lives and our communities
‘I suppose we should take some refugees’. How many times have you heard that said with a heavy heart? We disagreed.
#CompassionateLincoln is a campaign to give confidence to the compassionate, to demonstrate the power of community, to encourage community-led action and to recognize that we all have a role to play in making our city a great place to live.
Nearly one hundred people gathered in Lincoln Drill Hall in the early evening of 26 September responding to a call by a small group of people who had met earlier in the month frustrated by having no way to respond to the refugee crisis. Everyone had seen the dreadful images on their televisions of people, just like us, fleeing terror in their home country.
The purpose of the gathering was to find out how ordinary people can offer welcome to the refugees who will be coming to the city over the coming months. It was not a debate over the pros and cons, but rather an opportunity to try to understand what being a refugee actually means and what we can do.
Ric Metcalfe, leader of the City Council, gave us the stark statistics of the scale of the disaster in Syria and the plans already put in place by central government and local authorities for dealing with some of the practical aspects of the arrivals. He told us that those coming would be those in greatest need. It was this aspect that people focused on.
First though we heard about what was already happening, and there is a lot. There has already been one collection of clothing which has now been sent out to Croatia where many refugees will soon be experiencing colder weather. There will be more. But we also heard about churches making houses available for local homeless people. This was an important reminder that it is not just refugees who are in need; there are many already here.
It is not just about numbers of people moving from a house in Syria to a house in Lincoln. It is about individuals fleeing their home and seeking a new home elsewhere. This led us to think about what a home, as opposed to a house, actually is. It is a place to be safe. It is a place that is familiar. It is a place where people can grow and fulfil their potential as human beings. We forget that in refugee camps life stops, education stops, a whole generation can be denied the opportunity for growth, just because they were born in the wrong place at the wrong time.
So as well as physical support, refugees coming to the city will need friends to show them the ropes: where to shop, where to access health care, where to worship. The priest of the Orthodox church on Burton road told something of the oppression their sisters churches face in Syria but also of the welcome they can offer here. There were other things. The provision of language support, Lincoln people learning about Syrian culture, Syrian food.
Most of us were fortunate enough to be born in the right place at the right time and so have the ability to share out good fortune with others. Talk without action is pointless.
So everyone present offered ideas on what was needed and what could be done, and, most importantly, what they could do. The City Council also took away an action list. Lincoln has a proud tradition of welcoming refugees stretching back many decades.
This is an open group to which all are welcome. There is a Facebook page https://www.facebook.com/compassionatelincoln where readers can find out more about what is planned and join in with their ideas.
I would say that everyone went away feeling that bit closer to being able to help these desperate people both coming from Syria and those closer to our home.
What do you think?
Phil Hamlyn Williams - Chair of Trustees Lincoln Drill Hall
Published in the Lincolnshire Echo 1 October 2015
#CompassionateLincoln is a campaign to give confidence to the compassionate, to demonstrate the power of community, to encourage community-led action and to recognize that we all have a role to play in making our city a great place to live.
Nearly one hundred people gathered in Lincoln Drill Hall in the early evening of 26 September responding to a call by a small group of people who had met earlier in the month frustrated by having no way to respond to the refugee crisis. Everyone had seen the dreadful images on their televisions of people, just like us, fleeing terror in their home country.
The purpose of the gathering was to find out how ordinary people can offer welcome to the refugees who will be coming to the city over the coming months. It was not a debate over the pros and cons, but rather an opportunity to try to understand what being a refugee actually means and what we can do.
Ric Metcalfe, leader of the City Council, gave us the stark statistics of the scale of the disaster in Syria and the plans already put in place by central government and local authorities for dealing with some of the practical aspects of the arrivals. He told us that those coming would be those in greatest need. It was this aspect that people focused on.
First though we heard about what was already happening, and there is a lot. There has already been one collection of clothing which has now been sent out to Croatia where many refugees will soon be experiencing colder weather. There will be more. But we also heard about churches making houses available for local homeless people. This was an important reminder that it is not just refugees who are in need; there are many already here.
It is not just about numbers of people moving from a house in Syria to a house in Lincoln. It is about individuals fleeing their home and seeking a new home elsewhere. This led us to think about what a home, as opposed to a house, actually is. It is a place to be safe. It is a place that is familiar. It is a place where people can grow and fulfil their potential as human beings. We forget that in refugee camps life stops, education stops, a whole generation can be denied the opportunity for growth, just because they were born in the wrong place at the wrong time.
So as well as physical support, refugees coming to the city will need friends to show them the ropes: where to shop, where to access health care, where to worship. The priest of the Orthodox church on Burton road told something of the oppression their sisters churches face in Syria but also of the welcome they can offer here. There were other things. The provision of language support, Lincoln people learning about Syrian culture, Syrian food.
Most of us were fortunate enough to be born in the right place at the right time and so have the ability to share out good fortune with others. Talk without action is pointless.
So everyone present offered ideas on what was needed and what could be done, and, most importantly, what they could do. The City Council also took away an action list. Lincoln has a proud tradition of welcoming refugees stretching back many decades.
This is an open group to which all are welcome. There is a Facebook page https://www.facebook.com/compassionatelincoln where readers can find out more about what is planned and join in with their ideas.
I would say that everyone went away feeling that bit closer to being able to help these desperate people both coming from Syria and those closer to our home.
What do you think?
Phil Hamlyn Williams - Chair of Trustees Lincoln Drill Hall
Published in the Lincolnshire Echo 1 October 2015
Thursday, 24 September 2015
This summer of Lincoln Festivals: how has it been for you?
April seems a distant memory with that first chance to see the new home of Magna Carta and the breathtaking castle wall walk which has since attracted record numbers of visitors. Then June and the Magna Carta weekend; July and Jools Holland in the Castle; Jesus Christ Superstar in the Cathedral. But then other festivals: the Chamber Music Festival visiting different parts of the county with world class music; the Film society programme with its Magna Carta flavour. What a summer!
By the end of August I truly thought I was ‘festivaled out’, certainly ‘Magna Carta’d out’; but then came David Starkey at the Drill Hall as part of Festival 800. The controversial Question Time panelist put on his history hat and drew a vibrant picture of the politics of Magna Carta with modern day references and resonance. Billy Bragg and the Levellers provided music and Hillel Steiner much food for thought on human rights and migration.
An old friend, who runs one of the famous Lincoln restaurants, told me that her daughter, returning this summer from a time away, had noticed a much stronger cultural vibe in the city. Another friend said how he used always to go to Edinburgh for their festival and this year hadn’t, but hadn’t needed to since there were so many quality events in Lincoln on his doorstep.
Yet there is more to come.
I admit it. I love history, so much so that I am now spending my time writing it. The Lincoln Book Festival at the end of September has, as it says in its blurb, ‘History at its heart’. It is after all held in a city where over two thousand years of history seep from every stone. This year’s festival has very nearly the same time span, running as it does from an exploration of Islam, through a snapshot of the women of Lincolnshire in the 13th century, through ages of revolution, to previously unpublished material surrounding the abdication crisis and up to the 21st century’s wrestles with press freedom.
We then have, in true Monty Python fashion, something completely different: Frequency. You know the one that ‘other people seem to like, not really my thing’.
A few weeks ago I had a conversation with one of the organisers and this helped me understand it better. It’s not loud, atonal music; it is far more subtle. It is all about the digital age we now live in, and we do, all of us even if we don’t do ‘Facebook’. News broadcasts carry images taken by ordinary people on their phones; everything is more immediate; we can all have our say. The Frequency Festival explores what this means in our lives and uses digital technology to complement the more traditional art forms.
This year’s Festival has as its theme: Liberation. I asked what were the events for those of us new to it all. She listed them: ‘Cosmic Birds’ a quiet, meditative, kinetic piece playing with light at Chad Varah House; ‘Enlightenment’ at Waterside Shopping Centre; 'The One The Few The Many’ - an installation piece is going into Cobb Hall at Lincoln Castle, representing Lincoln’s history and its future; and Through the Fourth Wall’ - a magical, theatrical, projection piece in the Roman Postern Gate site. I would add at the Drill Hall, Compagnia TPO: Bleu, a combination of ‘sumptuous visual imagery, movement, dance and music’.
When it is all over please let me know what you thought of it all.
By the end of August I truly thought I was ‘festivaled out’, certainly ‘Magna Carta’d out’; but then came David Starkey at the Drill Hall as part of Festival 800. The controversial Question Time panelist put on his history hat and drew a vibrant picture of the politics of Magna Carta with modern day references and resonance. Billy Bragg and the Levellers provided music and Hillel Steiner much food for thought on human rights and migration.
An old friend, who runs one of the famous Lincoln restaurants, told me that her daughter, returning this summer from a time away, had noticed a much stronger cultural vibe in the city. Another friend said how he used always to go to Edinburgh for their festival and this year hadn’t, but hadn’t needed to since there were so many quality events in Lincoln on his doorstep.
Yet there is more to come.
I admit it. I love history, so much so that I am now spending my time writing it. The Lincoln Book Festival at the end of September has, as it says in its blurb, ‘History at its heart’. It is after all held in a city where over two thousand years of history seep from every stone. This year’s festival has very nearly the same time span, running as it does from an exploration of Islam, through a snapshot of the women of Lincolnshire in the 13th century, through ages of revolution, to previously unpublished material surrounding the abdication crisis and up to the 21st century’s wrestles with press freedom.
We then have, in true Monty Python fashion, something completely different: Frequency. You know the one that ‘other people seem to like, not really my thing’.
A few weeks ago I had a conversation with one of the organisers and this helped me understand it better. It’s not loud, atonal music; it is far more subtle. It is all about the digital age we now live in, and we do, all of us even if we don’t do ‘Facebook’. News broadcasts carry images taken by ordinary people on their phones; everything is more immediate; we can all have our say. The Frequency Festival explores what this means in our lives and uses digital technology to complement the more traditional art forms.
This year’s Festival has as its theme: Liberation. I asked what were the events for those of us new to it all. She listed them: ‘Cosmic Birds’ a quiet, meditative, kinetic piece playing with light at Chad Varah House; ‘Enlightenment’ at Waterside Shopping Centre; 'The One The Few The Many’ - an installation piece is going into Cobb Hall at Lincoln Castle, representing Lincoln’s history and its future; and Through the Fourth Wall’ - a magical, theatrical, projection piece in the Roman Postern Gate site. I would add at the Drill Hall, Compagnia TPO: Bleu, a combination of ‘sumptuous visual imagery, movement, dance and music’.
When it is all over please let me know what you thought of it all.
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