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Musings News Project Updates

Year in Reflection

What has The Stove achieved over the last year?

2022 was an exciting year for us here at The Stove. From developing new projects, expanding and delivering ongoing ones and growing opportunities for creatives in the region, we’re immensely proud of the team, and so thankful for the continued support of our members, customers, communities and partners, all of whom have played a part in the story of The Stove.

Looking back at all the fantastic things the Stove team have accomplished from April 22’ to March 23’, we asked our team to reflect on their highlights of the year:

Saying Hello and Goodbye

From April 2022 onwards, we had a year of providing opportunities at the Stove. During this time, we awarded the total value of £237 537 of contracts to people, 56% of which were under 25 and 86% were local.

We said goodbye to two members of staff this year who have left to grow and complete projects and career goals of their own, Edith and Beth. We said hello to five members of new staff over the course of the year. This year we were fortunate to work with a brilliant new team of Creative Spacers; Alice, Emma and Morgan, and we said hello to two new members of our comms team; WWDN Content Creator Malcolm, and Marketing Assistant Erin. Last year we also welcomed our community events producers, who have been supporting Open Hoose; Leanne & Mia. You can learn more about our team via our The Stove Team page. Our Production lead, Sal Cuddihy, shared the following thoughts about our producers;

“Its’ been an absolute pleasure having Leanne and Mia join our team this year to pilot a Creative Event Producer program, they both have done some amazing things this year, working with a wide range of communities to deliver events. Now with Meg as our newest edition to the production family, I’m super proud of them all!”

Sal Cuddihy (Production Lead) on our Community Event Producers

22/23 Projects at The Stove

Open Hoose

Open Hoose is a project at the heart of the Stove’s community venue. Ideas are given the space, time, resources and support of the Stove Network to launch ambitious projects to galvanise and gather our communities together.

The projects that have been nurtured through our Open Hoose programme this year have been; Doughlicious, Free Improvisation, Queer Club, The Hoose, WRITE!, Climate Kitchen, Nith Life, Doongamers and Repair Shop.

Our Community Events Producers shared the following about their involvement with Open Hoose: 

“My Highlight of last year was watching community groups grow through our Open Hoose program in numbers and ambitions throughout the year.”

Leanne Bradwick (Community Events Producer)

“Working on Open Hoose events makes you realise what’s possible when you empower the community to take a lead in local programming. The possibilities are endless and the impact this has had on individuals and the wider community has been invaluable.“

Mia Osborne (Creative Spaces & Community Events Producer)

You can read more about Open Hoose HERE.

High Street Multiverse

High Street Multiverse is a digital, public art project run by the Stove Network, supported by Dumfries & Galloway Unlimited. This project saw different QR codes being stationed at different points on Dumfries High Street with different content to access when scanned.

You can find out more about High Street Multiverse here.

Brave New Words

Brave New Words continued throughout 2022, before coming to a bittersweet ending. Brave New Words was the Stove’s monthly open mic night for writers, artists, musicians and songwriters to share words spoken or sung to an audience in the heart of the town centre. 

“Brave New Words – I cried, I laughed, I contemplated and I was inspired!'”

Lindsey Smith (Finance & Operations Manager)

You can read about Brave New Words HERE.

It sadly saw its last hurrah but keep an eye out on our programme to see any future developments…

WWDN & kNOw One Place

2022 was a big year for WWDN – our creative placemaking network. WWDN supports partnerships between artists and community organisations across Dumfries & Galloway, co-creating with local communities to develop new projects, local plans, training, and enterprise. 

Kathryn Wheeler, our WWDN Project Lead shared the following about the previous year.

“Last year has been one full of changes, as most are in both the areas of community and cultural working. The focus of my work has grown more and more towards the development the What We Do Now project, working with the team here, and the community organisations involved, to shape a network that can support creative projects to emerge from communities across the region with the aim of starting new and inspiring things in those places. A highlight for me was September, when we were able to stage Scotland’s first ever Creative Placemaking forum, welcoming artists, community groups, policy-makers, funders, to share their ideas on the value of this work and the impact it could have for our communities if properly supported. For me it really highlighted how our small corner of the world is punching way above its weight.”

Katherine Wheeler (Partnerships & Project Development)

Malcolm Struthers our WWDN Content Creator shared the following thoughts about their involvement with WWDN last year,

“It has been a pleasure to help share the story of What We Do Now, and how it has grown and developed over the past year. In particular to help showcase the variety of activities that have taken place across the region, in the communities that are part of this ground-breaking initiative.“

Malcolm Struthers (WWDN Content Creator)

KNOw ONE Place took place in Dumfries in September 2022 and was an ambitious, future-thinking discussion on how communities can use creativity to lead the development of their places. 

You can read KNOw ONE Place HERE, and you can visit the WWDN website HERE.

Nithraid

A highlight in our calendar every year, Nithraid returned with a splash in in 2022. Nithriad Festival celebrates and explores Dumfries’ long relationship with its river and its importance to people and the communities it connects in the past, present and future.

Each year we hold a River Race to celebrate our heritage and connection to the Nith. The 2022 race was saturated in sunshine and saw lots of people venture along the Nith.

Production Lead Sal shared the following about last years race;

“Now part of the fixtures for coastal rowing and canoing we had over 40 different vessels competing on the river Nith, that and the weather being in our favour for a change, saw the river the busiest it has ever been with competitors and was incredible to see.”

Sal Cuddihy (Production Lead)

You can read more about Nithraid here, and follow the Nithraid Instagram account here.

Public Art

2022 was also a big year for Public Arts. Public Art activity at the Stove supports core programming with additional activities exploring temporary or permanent uses in public space, as well as offering support to external projects such as the fountain project. From the Progressive Seagull Alliance (yet to be trademarked but watch this space), to the beginning of the Fountain Restoration project, a wealth a public art projects have been carried out across the year. 

Reel to Real Cinema delivered monthly screenings of cinematic gems. From documentary to artists made shorts, independent to international film. We aim to bring people together to share food, film and discussion. Katie, our public art lead shared the following about Reel to Real, 

“In August we hosted a special screening of Long Live My Happy Head with the filmmakers, Gordon Shaw and friends. Gordon left a truly inspirational mark on all of us and I feel privileged to have been able to host the space. And just last month, we hosted a screening of [BREATHE] from Orchestras Live in the Dock Park bandstand, which felt like a such a good opportunity to experience film together in an unexpected setting.”

Katie Anderson (Public Art Lead)

Conversing Building exhibitions in the café this year have included work from Access Art, Holywood Primary School and HMP Dumfries in collaboration with Alice Myers. 

Wild Goose Festival

The Wild Goose Festival returned, bigger and better as ever. The week-long festival weaves art, culture, and nature together through a series of activities from interactive storytelling, nature walks, conversations to performances and creative workshops for all the family. 

“Wild Goose Festival welcomed 3000 visitors across 35 events at multiple venues throughout Dumfries and Galloway. The festival is co-designed and delivered in partnership with over 20 local and regional organisations, and is a platform to explore nature, creativity and place through celebrating the inspirational migration of 6 species of geese into D&G each year.”

Graham Rooney (General Manager & WGF Project Lead)

“My standout moment of last year was the successful launch of the Wild Goose Festival website. It was months of planning, collaboration, geese, and hard work. I’m very proud of what we achieved.”

Robbie Henderson (IT Coordinator)

Solway to Svalbard, an immersive, multi-artform response to the spring migration or barnacle geese launched in 2022. Created by composer Stuart Macphearson, filmmaker Emma Dove and sound recordist Pete Smith, this unique piece of theatre brought together original music with cinematic visuals, evocative soundscapes, and live storytelling.

You can visit the Wild Goose Festival here.

Dandelion

The Stove Network and Stranraer Development Trust (SDT) partnered with Dandelion, to create the Unexpected Garden at Burns House in Stranraer. Led locally by, Emerging Creative Producer, Bethany Piggott who worked with both the partners and community to deliver the project.

Stove Orchestrator Matt Baker shared the following thoughts about what was happening in Stranraer last year,

“The Stove project that gave me the shivers this year was the Harvest Festival in the Unexpected Garden in Stranraer, it had all the classic ingredients to transform a place into something exciting and gathering people from all walks of life to come together and celebrate their community and their love of their town.”

Matt Baker (Orchestrator)

Read more about Dandelion here.

Creative Spaces

Fuelled by experimentation and play, Creative Spaces is predominantly about working collaboratively to engage, inspire, provoke and provide both experiences and opportunities for young people in Dumfries & Galloway. 

Creative Spacer Producer Mia shared the following about the 22/23 Creative Spaces achievments: 

“If there’s one thing this years Creative Spaces team did with bells on, it was engagement. From Dundee to Stranraer, Wester Hailes to Caerlaverock, the team have engaged with a plethora of community groups, organisations, charities and people in order to build a larger picture of what the creative industries looks like in not only D&G but the whole of Scotland and to inspire wins from other places here in Dumfries. The associates have engaged with young people from across the region championing the creative industries whilst also engaging with our board and membership to inform proactive change internally from the perspective of young creatives.”

Mia Osborne (Creative Spaces and Community Events Producer)

You can read more about Creative Spaces HERE

It’s true that ‘the people make the place’, particularly when talking about the team here at The Stove. Working with such a talented and dedicated team is a joy, and I cant wait to see what we achieve together over 2023.

Kevin Stewart (Head of Communication & Engagement)

Looking forward…

You can find out more about each of our ongoing projects here, and you can look at the the work we have completed over previous years in our archive here.

We have events at the Stove all year round! You can check out our current event programme here.

Categories
Musings News Project Updates

Expectations Versus Reality: Community Arts Practice Edition

by Rachel Shnapp

It’s easy, when initially developing a creative project, to let your dreams run away with you. When I first thought up the project that I would be developing within The Stove this winter, my plans were, on some scale, grandiose. I saw the project spanning across the region, inspiring five football teams (full size, not 5-a-side) of young people, who, like me, had grown up surrounded by the moss and the hills and the dry-stone dykes of Dumfries and Galloway, dreaming of clapper boards, dressed sets, and, let’s be honest, Hollywood* mystique (*note the two Ls.)

The project I was aiming to deliver was a series of screenwriting workshops with three groups of young people from the region who, on a national level, fell under the bracket of ‘rurally excluded’, each from a different geographical area of the region. (Aside: we could have a whole other conversation (and multiple debates) about the phrase ‘rurally excluded’ and its role within diversity and inclusion, but that’s for another time.)

My aim was to teach these three groups of young people how to construct short narrative films, focussing on naturalistic and localised film, and through this process co-write a script with each group, that I would then go and shoot.

I envisioned ending with a series of coming-of-age short films based within the region, telling stories that spoke to a generation of kids who rarely (if ever) see themselves on screen. This would combine my own practice as a director, and the work I had been doing for the past six months at The Stove in community arts. The thought of inspiring the aforementioned penta-football gang of local-next-generation screenwriters and filmmakers appealed to no end. 

I’m going to do something you are generally not supposed to do in storytelling. I’m going to drop the spoiler in right at the second act:

I didn’t reach my expectations for this project. I’m going to do something else you are generally not supposed to do in storytelling: admit that I am an unreliable narrator. To say I didn’t reach my expectations for this project, would be telling only half the truth. The full truth, which sometimes we must wrestle with to discover, weed out of the proverbial pavement, is that my expectations shifted entirely throughout this project, and my initial goals, although in some ways not entirely met, paled in comparison to the happy accidents that shone through.

Due to various circumstances, I ended up only working with one group, of five young people, all from one town.

Firstly, with the impending threat of another Covid lockdown, all the schools I had hoped to work with were closing their doors to external visitors. Another group I had been introduced to were, sadly for me, not at all interested in screenwriting. Other pre-formed groups across the region had their spring schedules signed off well before Christmas, and were therefore unavailable. This singular group situation was not the geographically wide-ranging cinematic spectacular I had planned for. But within the confines of reality, I was able to spend more time and energy working with a group of young people who were determined, hard-working, and, truly benefited from the workshops in ways I had not at all anticipated.

(Disclaimer here: I definitely do not claim to take all the credit. I’m sure, without me, the group would have developed these skills in time on their own; and the team leading the group were making leaps and bounds with their photography and filmmaking abilities before I even stepped foot in the space.) But to see, first-hand, the benefit of having a space for young people to collaborate and work creatively, to try new ideas, and to (it seems so simple in hindsight) just be themselves, is more valuable than any evaluation procedure jargon I could have come up with in the first place.

This realisation, this eureka moment, is that what so many young people in rural communities really need is a space to hang out, to eat snacks with their friends out of the cold, dark Scottish winters, to truly be themselves around people who accept them and want to support them. A space to try out new ideas without the judgement of small-town-small-minds that can so often hold back anyone who does not conform entirely. I am definitely not the first person to make this realisation – I have seen colleagues in the region come to this conclusion and work tirelessly to provide these environments for the younger community. But to see it with my own eyes, up close, to be told by one of the young people that they feel ‘more at home here than at home’, to be able to contribute to that safe, comfortable space, where a young person is able to just be themselves. There’s nothing that could be more valuable, more inspiring, or more cinematic than that.

Rachel Shnapp is an Associate Artist forming part of the Creative Spaces Project 22-23

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News

Dumfries Tower of Light: Reflections

Post by Stove Public Art Lead, Katie Anderson

Dumfries Tower of Light: Image credit Ruari Barber Fleming

On Sunday, 19th December the Dumfries Museum Windmill Tower was lit up as it never has been before, with over 1000 individually lit candles gracing it’s unique architecture. The idea was first floated in 2020 when Dumfries and Galloway Council was looking for alternative ways to mark a Christmas Lights Switch On, but that could be hosted in a safe way for families and local folk to gather. The Stove Network team, working closely with Dumfries and Galloway Museum’s grew the idea but it wasn’t to be – first a delay caused by shipping issues from Europe, then followed by a change in covid19 guidance, meant that the project had to take a back step for the year.

Installing individual candles onto the facade of the Museum’s Windmill Tower

Fortunately since then, we’ve been able to build up the plans to host the event again this year – and finally, with a perfect evening, this temporary art installation took place. Each of the candles was hand placed on the many surfaces and edges of the Museum building by the installation team, and had to be taken down in the same careful manner to avoid damage.

The front steps of the Windmill Tower lit up at night. Image credit: Ruari Barber Fleming

Meanwhile, inside the Museum, specially opened for the day, were hosted crafting workshops with artist Helen Walsh creating felt robin tree decorations, inspired by the Victorian’s love of feathered friends in their festive greetings, and a series of puppet performances with Clydebuilt Puppet Theatre. The Jaggy Thistle Bistro also set up a pay-what-you-feel takeaway café for the afternoon, which completely sold out within hours!

The Tower illuminated, captured by Evie Copland

Marking one of the darkest days of the year, the Tower of Light came to life as the sun set – and was serenaded into the dark by the wonderful Cairn Chorus choir who stopped by to sing a collection of pieces. Visitors were invited to take a walk up through the Museum gardens, following light trails to view the artwork and look out over the town. Also visiting the site was Susi Sweetpea Fairy, who took the time to share stories, songs and conversations with those visiting. Over the course of the evening we welcomed 400 folk into the Museum grounds for a closer look and the opportunity to reflect on a challenging year and the New Year to come.

As part of the event, the Stove team gathered hopes and wishes for the year to come, which were all displayed on our Christmas tree – now available to view in The Stove Café – ranging from the poignant and heartfelt to playful and inspiring. In exchange,  craft packs were gifted out to take mini Museum’s home to decorate and hang on trees at home.

The moon making a star appearance. Image credit: Ruari Barber Fleming

The whole event was live streamed by Derry and Greg from the Battlestations crew, you can watch it back via our Youtube platform HERE and was also recorded using aerial footage by Stewart Gibson of Odin Aerial Solutions, see the beautiful film footage he recorder HERE

Stills captured by Stewart Gibson at Odin Aerial Soultions

As ever, these events can only take place with the hard work of the team and volunteers – special thanks to everyone who pitched in to make the Tower of Light happen, from cherry picker rescues, to guiding visitors around the site, hand lighting every candle to performing – the magic of moments like these is created by all those who contribute. Thank you! Special thanks also to the Museum’s team for all their support and trust throughout the project, and to DG Council for their support.

Image credit: Ruari Barber Fleming

Now what to do with 1,000 candles…

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News Opportunities

Opportunity for Freelance Artists/Creative Practitioners in Dumfries and Galloway

The Stove has been asked by the Wheatley Group to help them find creatives in D+G to put themselves forward for grants of up to £5,000 to develop and deliver new projects with children and young people in the region. Wheatley is a national organisation for social housing in Scotland and they are working in partnership with Creative Scotland on this project.

In the first instance the project is looking for expressions of interest from creatives with an idea for a project that can help improve the skills, confidence and wellbeing of young people. Projects are to be delivered within a year (though do not need to last a whole year) and you do not need to specify a community you would work with as Wheatley will help connect artists to communities locally.

If you are interested, there is more information available here including dates for online information sessions.

Please email [email protected] to receive an application pack. Deadline 5th March

Categories
Musings

Looking Forward / Looking Backward

By Hayley Watson.

It’s September already, and I’m still trying to pare away the feeling that this month is a fresh start – a miniature new year, though distinguished by routine, structure and peeled-from-the-packet stationery rather than Big Ben’s chimes, Auld Lang Syne and kisses. The thing is though, a year and a half out of education I’ve still ended up synchronising my ‘fresh starts’ with the end of summer. I’m not sure if this is by accident or coincidence (or, if you want to get philosophical, whether or not there’s even a difference). This time last year I’d just moved to Italy, and this year I’m in the process of moving back to Glasgow, which is a phrase I think I’ve said about a thousand times since I came back to Annan.

The recurring element of how my last five summers have ended, no matter what my plans have been, is suitcases I’ve stuffed my life into and usually an obligatory Ikea trip. The suitcase zippers burst a little along the edges, and anticipatory, so do I. This time around feels like it should be the same but I’m not so sure. Italy felt like an adventure, easy to romanticize. Working for shit pay and hopping from flat-to-flat takes a while to get old when there’s late summer heat and vino-tinto-tinted streets to meet you every time you finish a shift. And the last time I lived in Glasgow, I was a student – I don’t need to expand on why that combination worked.

Beginning my latest move to Glasgow comes in tandem with the end of my contract as blueprint100’s Associate Artist supporting its re-development. Working with blueprint100 this year, after my first experiences shaping its early structure and with four extra years of life behind me, has offered an opportunity to consider the continual motions of change we experience in early adulthood and how organisational support and belonging to a community can make it all feel a little bit more… easy. When I first started working with blueprint100 I was a teenager who’d just realised creative careers are possible, and now I’m an adult (I guess?) who’s a bit overwhelmed by just how many different ways there are to pursue creativity professionally.

A huge part of my role over the past few months has been consulting past blueprint100 participants on their experience and their professional and creative needs. Reflecting on how my own professional practice continues to evolve has been really interesting alongside speaking with other young adults going through the same process – I think we’re all very excited and very ready to take on creative careers, whether full-time or freelance or whatever else (the beauty of creative work is how flexible it can be). At the same time, we’re now living through a pandemic. One excited hand locks fingers with a frustrated/confused/kind of scared one. It’s been comforting for me to understand how similar our feelings and our needs are at this stage of our lives, and this has reaffirmed how important it is – at any stage of life, but especially during the ‘uncertain’ ones – to feel like you’ve got a community behind you.

Community, then, has been a core theme that needs to be considered as part of blueprint100’s identity following our re-development this year. As blueprint100 moves forward, its membership will be re-integrated into The Stove, as it was in its very early days. As part of The Stove, we’ll be centred on creative opportunities that are community-focussed – in alignment with The Stove’s own mission. I started writing this not wanting to mention the pandemic at all (I’ve already failed) but after 2020 I really do think isolation of any kind is the last thing any of us want – including in our creative practices. For a lot of the people I spoke to, myself included, it was blueprint100 & The Stove which introduced us to working creatively in a way that might just possibly make this region feel like the exciting place you want it to be. For a lot of us again, this is something that continues to direct our creative practices. It’s an approach that’s fresh and unique when you’ve previously only experienced creative opportunities which focus exclusively on yourself and the development of your skills as an individual.

Alongside community-focused practice, the future of blueprint100 is one of building an inclusive and accessible creative community. If you’ve spoken with me at all since June when I started the initial consultations, I’ll probably have mentioned ‘accessibility’ and ‘inclusivity’ so much its borderline annoying. I’m pretty sure the words are even on my CV. That’s fine though. I believe, especially where the arts are concerned, accessibility and inclusivity can’t be taken into account enough. Throwing yourself into creative spaces when you’re not even totally sure of your identity as a creative practitioner yet is hard! And there are barriers as well to even claiming this identity alone – if you’re working in a bar 5 days a week, tired when you’re not working, and the total amount of time you can dedicate to even thinking creatively amounts to like, maybe an hour here and there, it’s difficult to feel as though you’ve got any sort of creative identity at all.

By establishing a community of young creatives in the region – whether online or eventually in the real world – we can learn that actually, wherever we’re at right now is fine, and its normal. This doesn’t mean we all need to be in the same positions, but rather that we can see creative careers don’t tend to happen in a smooth, linear, get-a-degree-then-do-a-grad-scheme way. Accessibility and inclusivity within this community should go beyond just being buzzwords. It’s making sure people feel able to speak up and even interrogate its structure without possessing 4 years’ worth of art school language. It’s shaping the opportunities within it to suit its members, rather than the reverse. It’s creating access to the space and tech to get work done because maybe you can’t get a quiet space at home. It’s knowing that maybe you can’t swap shifts to get involved with something, but people get it, and other opportunities will still be there whenever you are. No judgment.

Something I’ve gained from re-evaluating blueprint100’s role in its participants creative and professional development is a better acceptance of my own. I mentioned earlier the vast means through which you can pursue a creative practice, and as much as I said this can be overwhelming it’s also been quite reassuring. Being able to work creatively full-time in the early stages of your practice is a position of privilege, or very good luck. As with many other positions of privilege, not possessing it can have some kind of weird stigma attached. I studied Fashion Design at uni, and felt guilty every summer that I chose not to try and get an unpaid London internship. In the first months after graduating I felt guilty for not applying to graduate jobs that would cover my commute costs and little else. Since then I’ve learned that honestly? I love fashion, but I love being able to eat and pay my bills even more. Van Gogh gets touted as an icon of ‘starving artist’-hood but its reductive to think his work would be any less beautiful if he didn’t have the struggles of simply surviving to deal with. Poverty is only poetic to people who’ve not experienced it.

I guess what I’m getting at with that paragraph is that actually, working full-time in a factory and part-time in a creative role has actually been pretty good. Tiring, but good. It’s totally possible to continue the trajectory of your career while earning enough to live, and day jobs really aren’t as bad as you’re led to believe when you’re still maintaining some sort of constructive creative practice. I originally wasn’t going to move back to Glasgow until I had like… my absolute dream first graduate job. I’ve since decided that it’s equally completely cool to take a 50/50 approach to building my career instead – I’m going to be working part-time in clothing manufacture again, and spend the rest of my time working creatively on a freelance basis. It’s pretty exciting, a little like dropping everything to move to the city and become an artist but with the added security of actually having a predictable income every month.

I seem to have a talent for taking these blog posts a lot further than they’re probably intended to go (blame lockdown and reduced opportunities for rambling to people in real life). If you need a tl;dr for this – blueprint100 has developed, grown, and changed in the past few months at a faster pace than it ever has before. I have too.

Categories
Musings News

Creativity and Community as Part of the National Recovery

The diagram above is The Stove’s submission to The Advisory Group for Economic Recovery for Scotland. It is just the first germ of an idea and we are sharing it now in the hope of generating further discussion with others in the Creative and Community sectors.

Download a full-size version of the diagram here

The premise is simple – our Embers report has clearly shown the pivotal role played by creative practitioners and small creative organisations to initiate and maintain momentum in placemaking projects. These may start with cultural projects, but quickly develop into new social enterprises, asset-based and environmental initiatives. In short – do some cultural pump-priming in a community setting and the payback in terms of community resilience, economic development and people’s wellbeing is incredible.


In the current climate we have thousands of creative practitioners with little prospect of working in the short and medium term. We have communities who have experienced working together for mutual benefit during lockdown and we have many brilliant resources (theatres, sports centres etc) that are lying temporarily idle.

What if we were to pay out of work people in the Creative and Community sectors a Basic Income to work in their local communities to start new projects (or build on things started in lockdown) – these could be cultural projects like choirs, writers groups…but they could also be environmental projects or new social enterprises. Our skill set is to ‘make shit happen’ we are producers, innovators and entrepreneurs! If this National Task Force was to get things started then the national agencies and funders could come in behind and help take things to the next level and, before you know it you have communities making their places, economies and health better.


It may sound mad, but something not so very different was successful in the US as part of Roosevelt’s New Deal in 1934 and again in 1940 in Britain with the Council for Encouragement of Arts and Music which saw a force of musicians staring choirs and orchestras all over the country during wartime.


That’s as far as we’ve got til now – whaddyfink? Let us know and help us shape the idea if you think it has legs..

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