In this section
- A chronological investigation of palaeoenvironmental change in Wadi Iddayyah, United Arab Emirates
- Avant-Gardes and Speculative Technology (AGAST)
- Analysis of sustainability and reorganisation of Arabian coastal Neolithic socio-ecological systems
- Barqa Epipalaeolithic
- Becoming East and Southeast Asian
- Being a father and a refugee
- Beyond EAL
- Can the music of poetry transcend cultural and linguistic barriers?
- Chironomid Assemblage of Devils Lake, Wisconsin, USA
- Cleaning Up Renaissance Italy
- Comparison of older ex-offender resettlement and community-based organisations for reducing recidivi
- Crossing Borders in University Learning and Teaching: navigating hidden cultures
- Double Trouble: Effect of Violent Conflict on the Abuse and Misuse of Medicine in the MENA Region
- Eastern Buddhist Editorship
- Ecosystem resilience and recovery from the Permo-Triassic crisis
- Elizabeth Montagu Correspondence Online (EMCO)
- Excavating the roots of the tree of life: revealing a billion year fossil record for the euglenids
- Exploring Global Jodo Shinshu Through Ritual Practice: Histories, Transformations and Localisations
- Human-Disease Co-Evolution in Deep Time
- Inheriting the Family
- Japan 2020
- Journey of words: from manuscript to mind
- Kawashima: The Missing Link
- Long-Term Environmental Change in the Ecuadorian Tropical Andes - Volcán Cayambe
- Poetry, song, heritage: the Poetic Mind
- Remembrance in Schools
- Rewriting the Prehistory of Jordan
- Shaping debates on UK trade policy and Brexit
- Solar irradiance and vegetation dynamics at the K/Pg boundary
- Ten Salient Practices
- John Clare: The Meeting
- Voting Advice Applications
- “We are not alone”: Legacies of Eugenics
- What kind of military does Ukraine want and need?
- Women in Manx Politics
- Writing Identities
This project had two distinct stages: stage one was the fostering of new poems from new poets across 2019 in each of our workshop strands. In stage two, we wanted to continue to draw a parallel trajectory to that experienced by Clare across 1819 and 1820, when his first book was published, from which the first poem ‘The Meeting’ was sung on the London stage.
Our project sought to promote a wide variety of critically-informed creative responses to Clare in his anniversary year, and to draw music, poetry and Clare together – peasant poet and opera music. In the summer of 2019 we began planning a musical show, and were awarded Arts Council England funds to do so. Our show was due to be performed in April 2020, but the pandemic meant that was not to be.
Our project produced three distinct outputs, all available below:
- a video recording of a panel discussion of ‘The Meeting’ (poem and songs) featuring musical performances and readings by Toby Jones.
- a book of new poems responding to Clare, presented alongside an essay by composer Julian Philips and an extract of our show ‘The Fallen Elm’ by Stephen Plaice.
- an audio recording of musical compositions by Julian Philips, in dialogue with new poem and prose readings by Toby Jones. Julian’s ‘creative transcriptions’ are rewritings of tunes from Clare’s own folksong notebooks.
We collected and edited all the poems of the workshop participants, and of their tutors – along with extracts from our pandemic-delayed stage show by composer Julian Philips and dramatist Stephen Plaice – and published them in the freely-available book, below. Paperback copies are available to buy from the John Clare Society.
Edited by Simon Kövesi
Poetry editors: Sarah Corbett, John Gallas, Karen McCarthy Woolf, Clare Shaw
This book is a testament to the continuing power of the poet John Clare (1793–1864) to inspire creativity in other artists. It is the product of a project launched at Oxford Brookes University in 2019, aimed at getting Clare to places and people he’d not quite reached before, to explore how and why he remains such an inspiration to creative artists of all kinds, and to celebrate 200 years ince his first book Poems Descriptive of Rural Life and Scenery was published. Celebrated poets led John Clare poetry workshops in public libraries in four corners of England – Bradford, Manchester, London, and Peterborough – and the poems collected here are the product of those workshops. Funded by Arts Council England, the John Clare Society and Oxford Brookes University, our project and this book is a meeting of poems and poets, poems and song, poems, and performance.
- Toby Jones (poetry)
- Ionel Manciu (violin)
- Kate Romano (clarinets)
David Lefeber, Recording Engineer & Mastering
Simon Kövesi, poetry editor and consultant
Kate Romano, Producer
All tracks recorded at Stapleford Granary, Cambridge on 18-19 June 2021
The recordings here are of new musical compositions by Julian Philips - creative transcriptions of John Clare’s own folksongs (mostly his versions of staple songs in circulation throughout his early years). Clare was a keen and able violin player - a ‘decent scraper’ by his own account - who read and wrote musical notation. Julian’s creative transcriptions put the violin of Ionel Manciu in playful, sportive dialogue with the clarinets of Kate Romano (who is also producer of the whole Clare project). In further thematic, tonal conversation with these new instrumental recordings, are a selection of poems, performed by Toby Jones, and chosen by Julian and SImon Kövesi.
Project made possible by funding from Arts Council England, the John Clare Society and Oxford Brookes University.
All rights reserved. August 2021.
a. Song’s Eternity
1. The Garden Gate
b. First Love
2. Young Hussar
c. Written in a Thunderstorm July 15th 1841
3. Rhapsody The Storm
d. Edge of the orison (prose extract)
4. Morgiana in Ireland
e. The Toper’s Rant
f. The Mother’s Advice (poem)
6. I’ll be married on Sunday
g. How can I forget?
7. Rhapsody Black Ey’d Susan
h. Gypsies (prose extract)
8. Morgan Rattler
i. from August