Film still: A Song for Nine Elms by Lucy Cash. Image: Lucy Cash and mural by Brian Barnes
UP Projects have been invited to curate and produce a series of new commissions as a part of Berkeley Homes’ new development: Vista, Nine Elms, Battersea. Lucy Cash has been selected to create a new film and performance commission working with local community groups, schools and residents’ associations.
Cash is a multidisciplinary artist specialising in performance and visual arts using filmmaking, digital installations and ’social choreography’. She expands ideas of dance performance to offer more accessible ways of connecting dance to the environment around us.
Cash will be working with the local community to create Nine Songs for Nine Elms; a series of songs inspired by the heritage and history of the Nine Elms area. Each song will take influence from different musical genres and will be composed by the project participants. The project finale will see the various community groups performing each other’s songs – for example a song written by a primary school class, could be performed by local elders. The creation of songs will offer a diverse range of ways to get involved – contributing words or their voice; choreography or an idea for the performance of the song
The project will look at heritage narratives, local stories and memories which celebrate the diverse history of the local area. The series of final outcomes will help ensure these heritage stories are preserved in memory as the site develops.
The finished film will be screened at locations across Battersea later this year and will be made available as a resource for Berkeley Homes and London borough of Wandsworth.
Nine Songs for Nine Elms is produced in association with Cultivate, a new programme of creative place-making projects for young people in Nine Elms, funded by A New Direction, Nine Elms developers and Wandsworth Council.
You have been travelling for four sunrises. Your flask is nearly empty and there are just scraps of dried fruit left in your pack. Your feet drag over ruptured chunks of tarmac and uneven paving slabs, through which tough and resourceful plants push their heads. Deserted grey buildings are your companions, their broken glass eyes lifeless under the midday sun. Your head hangs low with tiredness and heat.
You stop. Through a buckled gate you see the unusual sight of a flickering electric sign hanging from a post in the middle of a long stone courtyard. You clamber through the twisted metal turnstile to investigate. The sign points to an open doorway, through which you see a host of electric lights blinking in a pale rainbow of colour. You enter. The room is bare apart from the lights and a descending spiral staircase. Two doors lead off to the left and right of the room but they are locked shut. Through the small glass windows in their surface you can see only darkness beyond. The room is cool, a welcome respite from the searing weather outside. You decide to follow the stairs downwards. Wide stone steps cause your footsteps to echo upward. You hold the cool metal banister, its black turned surface guiding your descent. Debris litters the less trodden parts of the steps, scraps of fabric and browned paper nesting amongst piles of dust that have gathered in corners where the stone meets the flaking painted walls. You soon find yourself on a narrow landing. Doors to your left and right have been sealed up with scraps of wooden board. In front of you is a large metal door, onto which are scratched the letters ‘H R’. You gently push the door. It swings violently inward at your touch, causing you stumble through. The door closes again before you are able to regain your balance. You spin round and try it but it will not open. There is no visible lock or handle and the door is far too thick and sturdy to break open. You sigh with resignation. It is time to explore your new surroundings.
You are stood in a dimly lit reception area. The walls are black and covered in chalk glyphs. There is a set of double doors ahead of you. To your left is a market stall, bedecked with hundreds of hand-painted wooden necklaces. Each necklace features a symbol consisting of two circles, one on top of the other. The upper circle features a skull-like robotic face, the lower a pair of staring eyes. On top of the stall sits a small, brightly-coloured robot, surrounded by a cluster of electric candles. You step forward to look more closely at the robot.
“Welcome to Happy Redoubt, friend!” The robot turns to look directly at you. Lights flicker across its face as it speaks. “Please rest a while here in the marketplace. You can do jobs and earn currency. You can spend the currency on things you like. You can rest and do jobs. Please enter the market place. Be productive. Earn currency. We are watching. Welcome friend.” The robot gestures towards the doors ahead of you, its arms and head twitching constantly as it does so.
“Have been here before? You seem familiar. Each visit is different. The options are endless. Welcome.”
Restless traveller seeking adventure, knowledge, and happiness.
Gus Fudge is a failed rock star who now fails to make a living through various creative means. He once worked as a cabbage harvester and has spent the last ten years working on a script for a comedy series called, 'Commuter Friends' - a dark and hilarious look at the lives of a bunch of Margate to London train commuters.
We are human cyborgs with afros and beards, we wear leather jackets and Bermuda shorts, our socks are always pink. Our purpose is to investigate the unforeseen effects of global events, for example the parallel international decline of tuppée sales and the political rise of Donald Trump.
3"11' high. Loves to tinker and fix. Was a watchmaker in a grand city. Once tried to fix a nobleís large clock and found it too complex and too unfamiliar a design to repair properly. Widely scorned for 'letting the gnome folk name down'. Still scraping a living.
Raised by ninjas in Kilburn, the Orochi Pilgrim searches for his Samurai father in the foothills of the Outer Circle of the Virtual Abyss.
The space in which we all exist, on the ground, in the sky, on the internet. We will give you a place to live as long as you know how to inflate us and have a place to put us ñ bring pegs, you wouldnít want us to float away.
Born in the mid 80s, Rick is a clone from a nomadic tribe of red-cloaked women. Determined to prove his own worth, he has put his tent on air-bnb and embarked on a quest with only his yellow backpack and small fish for company. He has a speed of 6 (when walking) and crafting skills of 9
£1 family from Stoke-on-Trent - we like gardening, growing salads and visiting the green spaces in cities. There are three of us, two with strong fringes and one with a beard. We live next door to a large brownfield and an oil refinery. We are keen bird watchers.
Torridon Croft was born into a life of privilege and quickly developed an insatiable appetite for destruction. It is said that great power demands great responsibility ñ not for young Torridon. Last rumoured to be peddling the Dagger of Xian around Kensington's least reputable antiques dealers. The world turns on Torridon's wretched axis.
Follow nine players as they navigate their way through Happy Redoubt, a post disaster marketplace run by the remnants of the former technological age. They will be entering their moves in real time and will receive bespoke responses from Juneau Projects. Their game will form a unique story as they navigate the marketplace, using arts and crafts skills to survive in a new economy of making and creativity.
Three players will begin, followed by subsequent rounds of three players at a time, each making their own journey. The game will run from 19th May to 22nd July.