MANAGEMENT + FINANCE
Andy joined Pacitti Company as General Manager in 2013. Andy is a qualified accountant (FCMA) and worked for 20 years in the banking sector, working in and ultimately becoming Director of Finance, Risk Management, HR and Real Estate functions at Capital One Bank. Andy first joined Pacitti Company as Project Manager with the On Landguard Point project, and then oversaw the refurbishment of the Think Tank in Ipswich, before taking on the Finance and General Manager roles in 2013.
Fi joined Pacitti Company as Development Manager in June 2015.
Her wide ranging career in the arts began in the mid-90s at Colchester Arts Centre. She went on to become General Manager of DanceEast, for 6-years leading on strategic and business development, overseeing relocation, securing significant partnership funding and capital development of the Jerwood DanceHouse to the point of securing Arts Council Capital Lottery funding of £2.5m and the letting the building contract.
She left in 2005 to establish an independent consultancy and producing practice. Since then Fi has collaborated with, produced and mentored many world-class national and international artists in contemporary dance, music and theatre, curated and programmed contemporary music and supported organisations across art forms.
In a career spanning 20+ years she has produced many events, ranging from small- to mid-scale tours and festivals to seasons, conferences and recordings, in partnership with Southbank, Royal Opera House, Snape, City of London Festival, the Barbican and many other small to mid-scale venues on the UK touring circuit, and to date has raised over £6m in funding for arts projects.
Fiona is also a writer and poet and, through Word After Word, a teacher of creative writing with an interest in writing for wellbeing.
Jason joined Pacitti Company in July 2015 as the Digital Assistant, as part of the Weston Jerwood Creative Bursaries programme for talented graduates. Jason’s artistic practice began in 2007. He created ‘Project 5am’ and it was under this banner that he started to produce a series of interdisciplinary art works. Projects include the electronic album ‘Quixotes of Moons Fight The Windmills of Brixton’, and the experimental short film ‘Some Kind of Wonderful’, which was one of the films chosen for the Danish film auteur Lars Von Trier's community project ‘Gesamt’ at the 2012 Copenhagen Art Festival. Project 5am music has featured on award wining documentaries and web shows, international independent radio stations WFMU, Radio Scorpio and the German public broadcaster RBB.
In 2014 Jason created a new project titled ‘Flux Without Pause‘, which he has since given presentations about at SOAS and the University of Edinburgh. The project explored the notion of chaos via artworks to proudce a “third space” as a key for transformation in challenging academic racism. His latest project 'Surf/ace' is the first documentation of a curating of over a decade's work of epiphanies, ideas and actions.
MANAGEMENT + SOCIAL MEDIA
Jodie joined Pacitti Company as Administrator in June 2015, having previously worked with the company in 2012 whilst on placement from the University of Suffolk as part of her undergraduate degree in Dance and the Community and, in 2014, as Volunteer Co-ordinator for SPILL Festival of Performance in Ipswich.
Prior to becoming Administrator, Jodie worked with the UOS Dance Department as Assistant Project Manager for the Forefront Dance Company, where she worked closely with Rambert Dance Company, specifically, Dancer Malgorzata Dzierzon, in order to learn repertoire and oversee rehearsals with the Level 6 University students. Jodie is passionate about choreography, performance and dance outreach projects. She visited three different schools in 2014 and delivered dance workshops as part of an outreach initiative for UOS Dance.
Kate is a Producer and Programmer with over 10 years of national and international experience, and is Senior Producer at Pacitti Company. Originally trained in Theatre and Performance (University of Warwick),
Kate’s practice specialises in developing new work and crafting festivals. Previously, as Creative Producer at The Junction, Kate established the venue’s artist development initiatives and curated Theatre, Studio, Festival and Family seasons. Kate Directed the annual Sampled: Festival of Performance (showcasing innovative pieces throughout the building and off-site), from artists such as Bryony Kimmings, Brian Lobel, Made In China and non zero one.
Collaborating closely with on creative programme development, Kate has produced the last 5 SPILL Festival’s (2012-2016), happening across multiple locations and off-site (including National Theatre, Southbank Centre, Barbican, Toynbee Studios, converted and site-specific spaces). Lead producing numerous, large-scale and complex projects including; The Salon Project (Untitled Projects), Quizoola (Forced Entertainment), Written in Sand and Ribbon Gate (Karen Finley), Becoming An Image and Inextinguishable Fire (Cassils).
Kate actively supports artists and producers through the SPILL National Platform / New Producers programmes and is committed to discovering and fostering the next generation of makers.
ARTISTIC DIRECTOR + CEO
Having initially trained as a fine art painter, Robert began making performance and experimental theatre in 1988. With Pacitti Company, he spent over two decades producing and touring an award winning body of radical performance works worldwide.
Robert is also the creator, curator and director of the SPILL Festival of Performance - a large scale international festival of experimental theatre, live art and performance presenting the work of exceptional artists from around the globe. Launched in 2007, SPILL has commissioned and presented large scale projects by hundreds of the world's foremost experimental makers (including Karen Finley, Cassils, Romeo Castellucci, Jan Fabre, Diamanda Galas, Ryoji Ikeda, Raimund Hoghe, Ron Athey and many others) alongside a National Platform for early makers. SPILL partners in London have included the Andaz Hotel, Artsadmin, the Barbican, Live Art Development Agency, National Theatre, Southbank, and Whitechapel Gallery. SPILL Ipswich partners include Colchester Arts Centre, Colchester & Ipswich Museum Service, DanceEast, Ipswich Borough Council, New Wolsey Theatre and many others.
In 2011 Robert launched On Landguard Point, a mass public research into notions of home, actively involving 20,000 participants. Funded as the east of England's winning entry for Artists taking the lead (Arts Council England + London 2012) the project culminated in Robert's first feature film - also titled On Landguard Point - starring a cast of 1000 non-professional performers, some of the UK's foremost experimental makers, and a commissioned soundtrack by composer Michael Nyman.
In 2012, Robert launched the Pacitti Company Think Tank, a specially renovated building in Ipswich for public and private research into contemporary performance and associated areas. The rolling event programme offers salons, feasts, an alternative public library, artist surgeries, mentoring, publishing and more, alongside Robert's own ongoing studio based practice and that of Think Tank Associates.
A highly experienced facilitator and teacher, Robert continues to lead workshops and residencies internationally. He has sat on a range of prominent UK funding selection panels and regularly contributes to a broad span of publications, conferences and other performance related cultural activities around the world. His solo work is at robertpacitti.com
Steve is a freelance producer based in Colchester. After completing a BA in Drama at University of Essex he worked at the campus as Arts Marketing Coordinator, developing the arts infrastructure, programming, producing and building audiences at the University’s two public venues, Lakeside Theatre and Art Exchange.
In 2014 he was selected from an open call to train with Pacitti Company on their inaugural New Producers scheme and, after working on Jamal Harewood’s The Privileged and Daniel Oliver’s Weird Seance at SPILL Festival 2015, he produced an ACE funded UK tour of Weird Seance in 2016.
Since leaving the University in Summer 2016, Steve has been Associate Producer at SPILL 2016, co-produced Evangelia Kolyra’s code bend time for Nottdance Festival 2017, and is currently an Associate Producer at Pacitti Company.
THINK TANK ASSOCIATE
Lucy is an archaeologist and landscape historian interested in engaging with people about social and cultural issues to do with Heritage. She uses archaeology, landscape, history and museum collections to provoke responses to contemporary issues and works with artists, musicians, writers, scientists and community groups to create innovative and imaginative projects, reaching out to new audiences.
Lucy first worked as a ‘rescue’ archaeologist in the City of London with the Museum of London’s archaeology unit, excavating sites in advance of development. She has done extensive research fieldwork, landscape surveys and excavations in England, Italy and Sicily, asking questions about social change through time, using material culture residual in the landscape to make inferences about human behaviour. Throughout her career she has created and taught adult education courses and devised and lead study tours exploring human engagement in landscape and place. Lucy lives in Cambridge and is a Trustee of the Museum of Cambridge, a former City Councillor and a school governor. She is an Affiliated Scholar at the McDonald Institute for Archaeological Research, University of Cambridge, and team member of ArchaeoLink, an organisation set up to enable communities to benefit from their archaeology and historic landscapes.
Lucy became a Think Tank Associate in 2013, engaging with people in and around Ipswich to explore what heritage is about, provoke discussion, and encourage connections between artists, thinkers, scientists and heritage resources. The work, supported by the Colchester & Ipswich Museums Service as part of their Unlocked programme, includes outcomes such as the Think Tank Workbook, a short film, Thread, and Tea Talks. Lucy also worked with Gauri Desai and the CSV Visions Project in Ipswich, using archaeology and history to investigate migration and identity with women who had recently migrated to Ipswich. At the Anglo-Saxon burial site at Sutton Hoo, they filmed and edited a Q&A discussion about their own migration stories to create Home is Where the Heart Is. A subsequent project involved making 4 films about migration in the area, Selie Suffolk – Bequest and Identity - one about the history of migration in since Anglo-Saxon times, and 3 films about communities and an individual who have moved here recently. The initial work was supported by the Pacitti Company Think Tank and Colchester & Ipswich Museums, and the film quartet was supported by the Heritage Lottery Fund.
Lucy was a founder member and chair of Mill Road History, Cambridge, an HLF funded Community History project which focused on researching and recording new perspectives on the history of that part of Cambridge. This involved training people to research and write building histories and record peoples’ memories, with specific outputs and community engagement. The Museum of Cambridge now hosts this project as the core of its outreach work around the city, with a grant from Cambridge City Council. Mill Road History Society is the legacy of the project on Mill Road, providing an annual programme of talks, tours and workshops, and supporting new research and engagement. Lucy is currently working with Robert Pacitti on The Art & Science of Living & Dying, a longterm body of research, development and making as part of the SPILL Body Lab.
Find out more about Lucy and her work at accessarchaeology.co.uk
THINK TANK ASSOCIATE
Martin Jones is the first George Pitt-Rivers Professor of Archaeological Science at the University of Cambridge. Throughout his career, his research has been with ancient food, from the field to the meal table. His recent books include Feast; Why Humans Share Food, and Unlocking the Past: How Archaeologists Are Rewriting Human History with Ancient DNA.
His early research asked how farming developed in prehistoric Europe, and how we could use preserved archaeological plant remains to find out. Over the last decade, he has explored a major episode in world agriculture, characterized as ‘food globalization in prehistory’. This millennial episode of contact between Eurasian farming communities culminated in the network that came to be know as the Silk Road. Much of our understanding of the early agrarian stages of this process have only come to light as a consequence of the digging for traces of past meals.
Martin has always enjoyed taking his research to wider audiences, using a variety of means of dissemination. Art provides some exciting platforms for scientific research, howover abstruse. His collaborations include ‘The imagination of Matter’ with Kathleen Rogers (part of the NOISE Festival).
THINK TANK ASSOCIATE + TRUSTEE (from September 2017)
Shabnam Shabazi’s diverse output of work includes: performance, theatre, object, video, text, mixed media, installation. Memories, dreams, rituals, journeys, the interstices and spaces ‘in between’ art forms and cultures animate her practice.
Working as a maker and enabler of creative works nationally and internationally. Shabnam’s work is autobiographical and archival. Notions of home, place, displacement, identity and the body animate her practice. Recent and ongoing research includes exploring the idea of the ‘body as a house’; ‘stories from ourselves, stories from within’.
Shabnam Shabazi’s work has been presented at: the National Review of Live Art, Toynbee Studios, SPILL Festival, Area 10, Hazard: Green Room, Chester Gateway, Young Vic Studios, New Grove, Red Room, People’s Show, Chats Palace, Bethnal Green Working Men’s Club, Derby Playhouse, Hackney Empire, and different alternative venues across the UK… Shabnam was the recipient of a LIFT Blue Room Residency in 2008. Ivor Cutler, and Adrian Mitchell taught her. She was awarded a John Fernald Award in 1992 to assist Anna Furse at Paines Plough on production of ‘Cross Fire’ by Michel Azama. She was assistant director to Max Stafford-Clark on several works, notably on seminal production of ‘Blue Heart’ by Caryl Churchill, and a participant of National Theatre’s director’s course in 1995. In 1997 she was awarded a young director’s bursary by the Arts Council of England to work at Chester Gateway as Associate Director. She has worked as a maker and enabler for: PSI 12–Performing Rights (Queen Mary University and Live Art Development Agency); Jonzi D Company; Contact Theatre (Manchester); Derby Playhouse; Newham’s Festival of Youth Culture; Chats Palace Arts Centre; Out of Joint; Theatre Centre; Paines Plough; and Women’s Theatre Workshop…
Mentored by eminent Visual Artist Franko B from 2006-2007, working as his assistant on his 2009 ‘Winter School’ entitled ‘Who Are You?’ and produced Franko B’s mid scale production of ‘Because of Love’. Shabnam has been taught and mentored by seminal and prolific performance artists/activists Guillermo Gomez-Pena, Ron Athey, and Julie Tolentino…
A long standing Associate Artist of The Red Room and a visiting lecturer at Goldsmiths, University of London; working as researcher and mentor to many artists across a wide range of cultures and art forms. In 2015, Shabnam was artist in residence at Metal, Southend as part of Time and Space Residencies and has been ‘Think Tank Associate’ for SPILL since 2016 creating a body of solo and collaborative works. Recent projects include: ‘Snail Portrait’; ‘Body House’ (SPILL and Sacred) and ‘Speaker’s Corner’ & ‘There Ain’t No Black In The Union Jack’, and ‘Terra Nullius’. Currently Community Activist for Revoluton Arts (Luton’s Creative People and Places) as well as Associate Research Fellow in the School of Arts (Department of English and Humanities (Theatre Studies)) at Birkbeck University of London.
Gill was educated in Scotland and studied at Trinity College of Music in London. She is currently Head of Promotion for the International Music Publishers Chester Music and Novello and Co., both part of the Music Sales group of companies. Within this role she is working with the leading composers of today including Sir John Tavener; Craig Armstrong; Sir Richard Rodney Bennett; Michael Nyman; Jocelyn Pook; Joby Talbot and and Kaija Saariaho.
From 1997-2002 Gill was Executive Director of the spnm, Society for the Promotion of New Music. The organisation has worked with many of the leading orchestras and performing groups in the UK, placing new work by emerging British composers at the heart of their performing agenda. She worked closely with Stephen Montague, Joanna MacGregor and Steve Martland in their roles as Artistic Director for the spnm, and with colleagues Alasdair Nicolson and Vincent O’Connell founded the ground breaking Sound Inventors, a national programme introducing young people to composition. Prior to joining the spnm Gill was orchestra and performance manager at the Royal College of Music and before that on the staff at Mountview Theatre School.
Hugh Whittall is the Director of the Nuffield Council on Bioethics, whose task is to identify and report on ethical questions raised by new developments in biological and medical research. Recent reports have covered areas including dementia, biofuels, neurotechnology, and the use of human bodies in medical treatment and research.
Hugh was previously at the Department of Health, where he was involved with the preparation of the Human Tissue Act 2004 and the setting up of the Human Tissue Authority. He was also involved in end-of-life issues and transplantation policy.
Prior to that Hugh spent three years at the European Commission in Brussels, involved in the funding and promotion of bioethics research, and he was for several years Deputy Chief Executive of the Human Fertilisation and Embryology Authority.
Martel is an arts administrator and creative producer who has experience creating and implementing strategies; working effectively within complex organisations; fundraising; overseeing long term multi-faceted projects; and managing professional relationships of all kinds. She has diverse international experience and networks, and can advocate for organisations, projects, artists and art forms.
Since 2002, Martel has worked at international music producers Serious and has a wide-ranging portfolio which spans organisational responsibilities as well as producing projects for all kinds of audiences. Producing highlights at Serious include: Mind on the Run: The Basil Kirchin Story for Hull2017 UK City of Culture; Creative Capital Live! - the launch of the Mayor of London’s 10 year strategy for Culture at the City Hall; a series of collaborations involving South African trumpeter Hugh Masekela, working with community and young peoples’ choirs alongside orchestras and Big Bands (London Symphony Orchestra, City of Birmingham Symphony Orchestra and Jazz Jamaica All Stars) and the national and international tours of Catapluf’s Musical Journey - a work for children and their families by Adriano Adewale.
In addition, she manages the work of UK conductor and orchestrator Jules Buckley and the composer/performers John Surman and Andy Sheppard, as well as the music publishing company ‘In all Seriousness Music Ltd’; and is responsible for ‘Seriously Talented’, a suite of acclaimed talent development programmes which identify, nurture and respond to the individual needs of emerging creative musicians working in jazz, improvised and Black music. Programmes include Take Five: UK, Take Five: Switzerland & South Africa, Air Time: Jazz CPD Scotland, Move On Up, and Take Five: Europe.
Martel is a board member of the Europe Jazz Network, and prior to working at Serious, she worked as a producer of contemporary music, performance and visual arts projects in Australia.
Robyn is Head of Regulatory eir, in Ireland. She has previously been the Regulatory Director at EE and at T-Mobile (UK) Her job involves the legal aspects of all regulatory matters, including spectrum, and competition law.
Prior to joining T-Mobile she was a partner at Linklaters for 11 years, heading up their communications practice. In her deep dark past she worked in television for 3 years for Rupert Murdoch in Australia.
Before becoming a lawyer she graduated from the National Institute of Dramatic Art in Australia. She is now a director of a number of arts related bodies.
TRUSTEE (from September 2017)
Season Butler is an artist, writer, activist and academic with particular interests in critical race studies, queer theory and performance. Her writing, research and art practice centre around intersectionality and narratives of otherness, isolation and the end of the world as a contemporary ontological dilemma. She has recently begun working as one of six Arts Enablers as part of Slate, an ambitious three-year, artist-led project designed to foster long-term career sustainability for minority ethnic artists in the North of England, as well as to activate latent audiences and enhance our understanding and practice of diversity within arts institutions.
In 2007 Season completed the MA in Creative Writing at Bath Spa University and is currently reading a PhD in Creative Writing at Goldsmiths College. In her doctoral research, she examines how conventions in writing literary fiction govern when and how race is marked in characters, and how this act can passively replicate, or actively challenge, racial normativities. She teaches writing, performance and critical theory, and spent several years running creative writing workshops for visual and performing artists. In 2014, Season won second place in the Soroptimists International Prize for novels by black and Asian women, and continues to write literary and experimental fiction. Her literary work is represented by Emma Paterson at Rogers, Coleridge & White.
Season is part of I’m With You, a collective of artists and thinkers concerned with performance, queer domesticity and gesturing toward wily future, an is an associate artist of Somerset House Studios.
Find out more about Season and her work at seasonbutler.com
Yannick is CEO and Artistic Director of the Montbéliard Agglomération Scène Nationale in France, having previously been a consultant and artistic advisor in Spain and the UK.
For 4 years he was General Director of the Centre Chorégraphique National de Roubaix Nord Pas de Calais, and has also worked with Carolyn Carlson since she came back from the Biennale de Venise in 2003.
He worked for 10 years at the Conservatoire National Supérieur de Musique et de Danse de Paris as Deputy Dance Director, having been the first coordinator of the European Forum for the Arts and Heritage. Yannick orginially trained as a dancer.