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Making
Chains
The
ISTD was approached by UNICEF United Nations Children's Fund
in early 2001 with a proposal. They had a project in which
they wanted to utilise dance and were therefore looking for
assistance from a respected organisation to ensure that all
the dance elements were carried out correctly and professionally.
The
ISTD was more than willing to assist UNICEF with their plans
because it believed the project would raise the profile of
the Society and its members within secondary schools, whilst
at the same time demonstrating its involvement with children,
a common link between both organisations.
The
Project is Announced
The
ISTD announced the partnership with UNICEF and the first details
of the project in December 2001.
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Patricia
Prime, the ISTD's Vice Chairman, said the following:
"I
am delighted to announce that the ISTD are to embark on
an exciting partnership with the charity UNICEF. In essence
two projects are to be undertaken. |
Firstly,
the production of a resource pack (workbook, video and CD)
to assist state school teachers and others in the teaching
of the subject 'Global Citizenship', a compulsory subject
in the national curriculum. UNICEF
believes this can be achieved by using dance and music as
themes to assist in conveying issues regarding children's
rights and have asked the ISTD to provide the dance elements
of the resource pack.
Secondly,
in order to help promote the resource pack, heighten the profile
of the ISTD and announce our support of UNICEF, the ISTD will
be holding a Gala at the Sadler's Wells Theatre on Sunday
7th July 2002...[The ISTD] Council is delighted to be working
with UNICEF and equally that UNICEF have recognised the ISTD's
standing in the dance world and chosen to work with us..."
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Heather
Jarvis, Head of Education, UNICEF United Kingdom Committee,
said:
"The
United Nations Children's Fund is the only global organisation
working specifically for children and children's rights.
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We
work with local communities and governments in more than 160
countries to help every child reach their full potential through
long term and emergency work on healthcare, education and
protection for children at risk.
In
the UK, UNICEF works to change attitudes and win support for
children's rights worldwide by working with partners like
ISTD to raise awareness and money to support UNICEF's programmes
internationally. The
Education Department of UNCEF UK is thrilled to be part of
this innovative project which will be so beneficial to young
people and help further the objectives of both UNICEF and
ISTD.
The
multi-media teaching pack will help schools both include modern
dance in their curriculum and explore topical issues like
child labour, global interdependence, children's rights, conflict
and conflict resolution and sustainable development, all topics
which feature in the new Citizenship curriculum which is statutory
for secondary schools from September 2002.
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Who
was involved
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Chris
Baldock, choreographer
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Chris
began his career at the age of eleven appearing in Gypsy at
the Piccadilly Theatre in 1973. From then on he continued
to work in West End theatre and television, which includes
Song & Dance, Palace Theatre, London, Anything Goes, Prince
Edward Theatre, London, Natalia Makarava Special, Royal Variety
shows, Summertime Special, Top of the Pops, Sunday Night Live
at the Palladium, Piccadilly’s and Her Majesties!
Chris
has choreographed pop videos for artists such as Eternal,
Kim Wilde, Denise Van Outen, Phats & Small and Worlds
Apart and he staged and directed the successful tour Prisoner
Cell Block H - The Musical starring Lily Savage. He was resident
director for the hit show Starlight Express, of which he staged
the show’s contribution on Andrew Lloyd Webber’s
50th Birthday at the Royal Albert hall.
He choreographed and directed the show Rhythm of the Celts
that opened to high acclaim at the Waterfront Hall in Belfast.
Due to the show’s success it later transferred to the
Edinburgh Playhouse. Television shows include Top of the Pops,
The Des O Connor show, MOBO awards, Barrymore 2000, Michael
Barrymore’s My Kind of Music, and Jane MacDonald’s
Star for a Night. Chris also appeared on Channel 4’s
popular TV show Faking it.
He has staged NIKE sportswear shows throughout Europe, Adidas
in London, SPX in Chicago U.S.A. and was at the forefront
of Jordan’s Formula 1 launch at the London Palladium.
His work on a major project with UNICEF led to him conceiving
and directing the children’s charity gala at the Sadler’s
Wells Theatre, London.
Chris has choreographed in all styles of dance whether it
be Ballet, Tap, Jazz, Hip- Hop, Contemporary, Celtic, Musical
Theatre or on Roller- skates.
His wide range of skills were used for the street dance show
Bounce, where he re- adapted the show to tour Europe and eventually
it was to be a major hit at the Sadler’s Wells Theatre,
being the first of its kind to appear at this established
classical theatre.
Sarah Brightman hired Chris to choreograph various songs from
her new compilation Harem. This took them to Morocco filming
ten videos in ten days!
He has worked alongside many established artists and continues
to do so, whether it is teaching them to dance, enhancing
their performance level or on a few occasions…. coaching
them to roller-skate!
An
interview
with Chris
During
a break inbetween rehearsals, we sat down with Chris and put
the following questions to him...
Are
you enjoying working on the UNICEF project?
UNICEF are such a huge charity and my belief is that children
should always come first. This is a very important project
for me as well as everyone else involved.
How
are you finding working with 40 youngsters compared to the
likes of professional dancers?
Children are always fun to work with, they rarely have any
inhibitions and enthusiasm plays a major role in the dance
studio, especially with the kids I've picked for this project.
Professionals always have different opinions with regards
to work. Some still have the enthusiasm that we all would
like to see, but as much as I love to work with professional
dancers, children are more fun!
When
and where did you start your training?
I started dancing at the age of 3. I trained at the Hylton
Bromley School for 15 years and left when I was 18.
What
was your first professional job as a dancer?
My first professional job was 'Gypsy' starring Angela Lansbury
at the Piccadilly Theatre, London at 12 years old.
How
did you make the transition from dancer to choreographer and
what was your first professional job as a choreographer?
I crossed over from dancing when I had a serious knee injury
in 1987. I found I couldn't risk working for other choreographers,
so I did the natural thing and became a choreographer myself.
My first job was a trade show for Rank Xerox at the Metropole
Hotel, Birmingham.
Of
all the famous names that you've worked with over the years,
who has been the best to work with?
I have to say I can't single anyone out! Gene Kelly was an
honourable gentleman, who invited me and a friend (pursuing
his autograph) to his dressing room for a chat. Of course
we were dumb struck, star struck, whatever you want to call
it, and we lasted all of three minutes with him. That was
at the 1983 Royal Variety show at Drury Lane Theatre. He hosted
the show. On our way out of his dressing room, he said "Go
get 'em kids" and we proceeded to the stage for the opening
number of the show on a high. That has to go down as one of
my great memories of showbiz!
Any
other current or future projects?
My current project is co-directing the street dance show 'Bounce',
which is touring Europe. It has many aspects of dance in the
show - jive, tap, locking, popping, breakdancing, even a solo
ballet number which mixes breaking with ballet. Such a diverse
combination of dance but it works to perfection. I am additionally
choreographing sets in the show which is great to be part
of. My wife and I have recently opened an Associate School
of Italia Conti's in Tunbridge Wells, our home town. This
takes up a lot of time as most teachers would agree, but it's
very enjoyable though seeing children progress and being a
part of it.
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Greg
Snape,
composer
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Since
winning the Ricordi Prize in 1986, Greg has worked extensively
as composer, writer, director and vocal coach with a wide
range of artists and organisations including: Opera North,
E&B Productions, BBC Radio and TV, The United States Air Force
Band, Toyah Wilcox, Yorkshire Dance Centre, The Worldwide
Fund for Nature, Tracy Shaw, Lancaster House, The Department
of Health, Extravaganza Productions, TV-AM, and even David
Bellamy, the naturalist!
In
addition to maintaining his teaching interests, Greg has written
and directed productions of Rock Toyz, The Dracula Show, Absolutely!,
and an adaptation of Alice in Wonderland. In 1997 he was commissioned
by UNICEF to write 'Thursday's Child', a musical based around
children's rights, which was filmed for video prior to its
London premiere featuring Gary Wilmot.
Currently
Greg is Performing Arts Consultant for UNICEF UK, and always
fascinated by the intimate relationship between music and
dance he was delighted to be asked by the ISTD to write for
their exciting new joint venture with UNICEF.
An
interview with Greg
As
Performing Arts Consultant for UNICEF UK, Chains is not the
first work you have written for the children's charity. Back
in 1998 you wrote Thursday's Child, a school's musical based
on the UN Convention on the Rights of the Child. The Gala
will be featuring a performance of musical excerpts from the
work, can you tell us more about the musical and what we will
be treated to at the Gala?
Thursday's Child follows a group of children on a journey
in search of home and happiness through a land at war with
itself. Their journey leads them to encounter situations which
illustrate the worse aspects of life for a child in a vibrant,
emotive and sometimes humorous way. Ovation Musical Theatre,
a group of young performers ages 12 to 18 will be presenting,
on behalf of UNICEF, what promises to be an exciting montage
of dramatic vocal numbers from the production.
So
let's move onto Chains. The idea of educating children in
Global Citizenship through the medium of dance was actually
your idea. How did you come up with the initial concept and
how did it develop?
Citizenship is an important area of the curriculum, but it
can often be seen as a rather un-glamorous and 'boring' subject.
UNICEF wanted to develop a classroom teaching resource that
could enthuse and inspire young people about Citizenship.
Following the success of Thursday's Child, which is singing
and drama based, I suggested that they develop a dance based
resource centred on a high quality video of a piece with strong,
modern music and choreography, performed by kids of the same
age as the students watching the tape in the classroom. This
would first of all grab their attention and secondly be in
separate sections, each on a key issue of Global Citizenship,
in order that they may act as a stimulus for classroom discussion
and development of these themes. As I have previously worked
with a number of ISTD members I suggested an approach be made
to the Society with a view to forming a partnership for this
project.
You
mapped out the themes required to cover the subject (worked
into 6 dance routines), together with Heather Jarvis, Head
of Education at UNICEF UK. Can you give us a brief synopsis
of each of these.
The thrust of Chains is global interdependence and the need
for all peoples to have their rights met for freedom to work,
practise their language, religion and culture and to live
a decent life, in peace, with their families.
There
is a dramatic 'storyline':
•
Dollar a Day introduces global interdependence. The action
cuts from a group of young people in fashionable clothes at
a club to scenes of hard labour and the sweatshop conditions
in which their fashionable outfits are produced by young people
like themselves in other countries.
•
Freedom illustrates the plight of the world's poorest peoples,
who are often oppressed, unheard and brutally punished for
speaking out, yet who persistently demonstrate to try to achieve
their basic rights.
•
The Leaving shows how every year millions of people, mainly
women and children, are forced to leave their homes because
of extreme poverty or conflict.
•
Carnival is great fun, but while the 'rich' world is partying
they are consuming the environment at an alarming rate and
the world's poorest have to scratch a living from their leftovers.
•
Origins of their culture is important for everyone, but few
realise how much of their 'traditional' culture and language
may have originated elsewhere. The international language
of dance and music does much to unite the world.
•
One Fine Day expresses the optimism of a future in which we
care for each other and our planet - the future is what we
make of it!
In
a project such as this, as with many stage performances, music
goes hand in hand with dance. Tell us about the collaboration
with the choreographer, Chris Baldock.
Well, Chris is a very experienced choreographer and I knew
from the beginning that he would have a lot to bring to the
creative side of this project, so a lot of the music was actually
developed 'hand in hand' with his ideas for the choreography.
There were a number of meetings and phone calls and an exchange
of tapes of ideas for music that we were both thinking of
for different parts of the production. The choreographic/musical
structure of the work grew out of this instruction.
It
was a very important process because Chris put a lot of great
ideas into the work that would not otherwise have been there
and also because it meant that when we were in the later creative
stages of making Chains, we were both working to the same
artistic 'plan'. I think this is evident in the way that music
and dance comes together in a singe 'wholeness' in the finished
piece.
Tell
us more about composing the music. What was your approach?
It was an organic process with quite a number of ideas being
tried out in skeletal form, some of them being discarded and
others developed fully into the pieces you can hear in the
completed Chains. Again, everything was composed very much
with its place in 'the big picture' in mind.
In
a couple of the numbers you added words to your music which
required all the dancers to sing as a chorus with some additional
solos, as well as dance. I presume your experience in vocal
coaching came in handy here.
Initially it had not been planned to have singing in Chains
but the idea seemed to naturally grow out of the themes for
two of the numbers, Freedom and One Fine Day. The dancers
were not auditioned as singers as the nature of the work meant
it was more important that they were excellent dancers. However,
having worked for many years as a vocal coach with a number
of dance colleges and stage schools, I was confident that
we would discover a wealth of vocal talent once we got the
group together. This proved to be true and the kids learned
the songs in a very short time. We then chose Zaraah Abrahams
and Darvina Plante for the solos in Freedom, and in the hurly
burly of our hectic shooting schedule, before we knew where
we were, we had recorded all the singing with a mobile studio
set up in one of Sadler's Wells' rehearsal studios. Before
I knew it I was sitting in an edit suite listening to the
playback recording!
Dancing
hard and singing well at the same time can often prove challenging,
did the kids have to record vocals at the same time as being
filmed dancing?
In short, no! Filming is very repetitive. Modern editing techniques,
with lots of fast cuts between different shots, mean that
many takes of the same section of a dance, from different
angles, heights, in close up, full frame or longshot, are
required to make the finished film look exciting in the way
that we've all become used to from today's pop videos, TV
programmes and feature films. It would be extremely difficult
for performers to sing the same section of a piece in exactly
the same way, over and over, whilst dancing flat out. If the
vocal takes were at all different it would not be possible
to edit them together, and paradoxically, there are many technical
issues to be overcome in synchronising the live sound recording
at the shoot with the film in the editing process. These problems
mean that it has been standard practise since almost the beginning
of sound films in the late 1920's to pre record the singing
and then mime to 'playback' of this recording during filming.
This has been good experience for the kids working on Chains,
as miming effectively on film is a whole art form in itself!
Now
that the video is completed are you happy with the finished
result?
It's great! The editing has really caught the mood of the
pieces and how Chris' excellent choreography communicates
the themes of the work of eloquently. The soundtrack has reproduced
well on video and the Dance Workshop with Chris is fantastic
fun, a real bonus.
So
how do you think you'll feel seeing the performance of Chains
on the Sadler's Wells stage?
It's always a thrill when things that first saw the light
of day in your living room come to life on stage, and a premiere
at Sadler's Wells in front of a large audience with celebrity
guests will be an extra special first night. But I'm sure
that from the curtain rising to the final bow, my thoughts
will be with the dancers.
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The
Dancers
There
were 40 children that took part in the project:
Charlotte
Abrahams
Zaraah Abrahams
James Butcher
Joseph Connor
Paul Crumbie
Thomas Davies
Gabriella Di Girolamo
Laura Di Girolamo
Luis Elkes
Nathalie Emmanuel
Vanessa Forte
Gabriella Giustino
Charles Hadley
Sarah-Jayne Harris
Rainbow Ho
Jennifer
Jones
Oscar Mason
Jasmine Pearce
Darvina Plante
Jessica Pye |
Jonathan
Reynolds
Emma Rigby
Lisa Rowley
Alexandra Sarrafan
Annabel
Sarrafan
Hannah Sarrafan
Lilli Sarrafan
Amanda Sheeran
Crystal Smith Stewart
Racquel Smith Stewart
Jessica Stephenson
Stephanie Still
Perry Swain
Joe Tomlinson
Natasha Tonge
Paragh Vig
Michael Vinsen
Guy Wheatstone
Sean Williams
Lisa Winter
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The
dancers were from the following schools:
Angela
Allport School
Beryl Jarvis School of Theatre Dance
Dupont Dance Stage School
Elizabeth Hill School of Dance & Drama
Italia Conti Academy of Theatre Arts
Jason Theatre School
June Glennie School of Dance
Laine Theatre Arts
Merseyside Dance & Drama Centre
Rodney School
South East Theatre School
Tiffany Stage Academy
Tozer Studios
Victoria School of Dance
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The
Dance Gala
On
Sunday 7th July 2002 a Dance Gala was held at Sadler's Wells
in London to launch Chains.
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Chains
- 'One Fine Day'
All photographs by Elaine Mayson |
We
take a look back at what proved to be a memorable event through
the eyes of the dancers, those backstage and the audience.
Dancers'
Views
Sarah-Jayne
Harris, aged 11 and one of the Chains dancers, gives an account
of what it was like to be performing in the Gala.
As
soon as I walked into the Sadler's Wells Café I knew
this was going to be a phenomenal experience! There was a
buzz amongst the other 39 Chains dancers that created an atmosphere
of tension and excitement.
I
can clearly remember how it felt before we walked onto that stage for
our rehearsal. It was as if we'd all gulped down fifteen fizzy sugary
drinks and eaten ten energy tablets, because we were all practically
bouncing off the walls! It was almost unbearable, however we were all
relieved as soon as we began dancing to the lively Dollar a Day music.
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Chains
- 'Dollar a Day' |
It
seemed that as soon as the rehearsal had begun, it was over,
so we trooped back to our dressing rooms for the infinite
wait - everyone was counting the minutes until the show began!
When
our 30 minute call arrived, the excitement built once again.
As the minutes slipped away from us we became more and more
hyperactive until the dressing room was so noisy we received
complaints from the neighbours!
Soon
the show started. We raced down as soon as our call was given
and stood waiting apprehensively in the huge wings. One by
one, the other acts performed to the important audience, and
one by one we all congratulated them on their splendid dancing.
Before we realised it the fantastic Latin dancers were on
the stage and wowing everyone - this dance was the one before
Chains began!
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Latin
American couple,
Derek Hough & Aneta Piotrowska |
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As
soon as the lights faded into darkness, we scrambled onto
the stage and Chains took off to a flying start! Everything
went by in a blur, and there were a few fearfully quick costume
changes indeed. The closing dance had arrived almost impossibly
quickly, and a further five minutes later we were all back
in our dressing rooms.
The
walls couldn't contain our hyperactive excitement! We spilled
out into the echo-filled corridors, creating havoc throughout
backstage! We watched all of the other acts on the television
in our dressing room. Time seemed to be passing in great dollops
and it only seemed half an hour later that we were called
to take our bow.
After
two minutes...it was all over! The Gala had ended and our
chapter of Chains had finished. However, back in the dressing
rooms there was a realisation that we had given school children
across the UK a resource to learn from and that it couldn't
truly be the end.
And
we were right! There's so much left in the Chains story -
we could even see ourselves on television at school!
Overall,
the Dance Gala was a wonderful experience - the audience was
great and we danced on a famous stage...what more could the
young dancer wish for?
Emma
Rigby, aged 12, shares her thought on the Chains project.
I
would first of all like to take this opportunity to say one
huge thank you to the ISTD and UNICEF for letting me take
part in such a wonderful event and for giving me such a great
chance to do what I like best, which of course is dancing,
and for a children's charity. The whole experience was absolutely
brilliant and so enjoyable, I was so surprised to be actually
chosen but overwhelmed with excitement. I couldn't wait to
start rehearsing in London at Sadler's Wells and learn all
those new dances or even new dance moves.
On
arrival at the rehearsals I met lots of amazing new people
from all over the country. From the event I made lots of new
friends who all loved to do the same as me - dance. I still
keep in touch with them and we always share our news. All
of the dancing was brilliant and so new to me - I enjoyed
it so much because of a great man, Chris Baldock, an excellent
choreographer. He made everyone feel welcome, he taught us
new, funky dances and yet he still managed to add so much
fun. Working with Chris was a real honour. Not forgetting
the music and the singing as this played an equally important
part in our performance. Greg Snape helped us all to sing
with true feeling for the charity and what we were trying
to portray.
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Chains
- 'The Leaving' |
Before
we began the project we had had an induction meeting which
explained what the whole project was about. I felt that this
really helped me to put feeling into the dancing and the singing
as I knew and felt what the thousands of children across the
world were going through.
My
biggest thank you has to go to three very special people,
Jon, Jo and Sophie, the 'organisation' of the whole thing
- the travel, rehearsals and the biggest bit of organisation,
the Gala. They all worked so hard to make it so special, so
what else can I say but thank you for letting me be a big
part of it, I am very honoured!
Many
thanks.
Backstage
at the Gala
It
was a very early start for Jon, Jo and myself at Sadler's
Wells, but it was necessary to make sure everything was ready
for when the dancers began to arrive.
The
dancers for Chains were the first to arrive and they were
all very excited about the day ahead. They spent some time
in one of the rehearsal studios warming up and getting ready
to go on to the stage. When they were called, their energy
and enthusiasm was overflowing. As Chris Baldock ran through
each of the six Chains pieces working out exits, entrances,
spacing as well as checking lighting and music, the young
dancers behaved very professionally.
Whilst
all this was happening, the dancers from the vocational colleges
were arriving. Each college had specific dressing rooms allocated,
and Jo and myself had to navigate the slow lift and maze of
corridors to organise each group of students.
Once
the Chains dancers had finished, it was the turn of the colleges
to take to the stage. Back in the rehearsal studio, specially
made T-shirts were given to each of the Chains dancers as
a gift and they were soon outside in the fresh air posing
for a photograph taken by Elaine Mayson.
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| The
40 Chains dancers who performed at Sadler's Wells |
The
dress rehearsal was the first true test of whether this performance
was going to come together. Many of the Chains dancers stayed
at the side of the stage so they could watch the older dancers
perform and give them something to aspire to. Everybody clapped
and cheered at the end of each piece, especially Chains, which
gave the young dancers a real boost!
Immediately
after the dress rehearsal there were a few creases to iron
out for the quick changes happening during Chains, and then
everyone was back to their dressing rooms to eat, relax and
then prepare for it all over again.
As
the half-hour call came, the buzz of excitement in the air
was evident and final preparations were made. Every group
of dancers that took to the stage were professional and hard-working,
but above all, they were enjoying every minute of it and having
fun.
It
was time for Chains, and the dancers lined up ready to take
their places. After each piece that was part of Chains, the
applause was tremendous, and at the end was fantastic! The
dancers came off stage grinning and laughing, and feeling
great. The hard work was over, and it was the interval. The
second act passed quickly with a selection of excellent pieces.
At the end, everyone came back on stage to receive their applause
once more. Finally, the curtain came down and the Gala was
over.
The
dancers gathered their belongings and made their way from
the dressing rooms. Many proud parents were waiting by the
stage door to greet them and tell them how brilliantly they
had danced. What an amazing experience for a young dancer
to be part of!
Sophie
Roper
The
Performers
As
well as the world premiere of Chains we were fortunate to
have students from some of the country's leading vocational
colleges appearing in the Gala. Each college performed two
numbers, demonstrating an excellent standard and variety of
work and they proved to be most entertaining.
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| Bird
College - 'Spirit' |
Italia
Conti Boys Choir
'You'll Never Walk Alone' |
The
colleges were Bird College, Italia Conti Academy of Theatre
Arts, London Studio Centre and Performers College.
The
audience were also treated to a performance of an extract
of Thursday's Child, a children's rights musical, by Ovation
Musical Theatre - a most thought-provoking piece. To find
out more about Thursday's Child visit www.unicef.org.uk.
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| Thursday's
Child |
London
Studio Centre
'Y' Wanna Play?' |
The
Gala was brought to a fantastic close with a vibrant and energetic
finale, when all 200 performers came together on stage to
take their bow to rapturous applause.
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| Italia
Conti - 'Rockin Rhythm' |
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Performers
College -
'Classical Contradiction' |
A
final word from the ISTD and UNICEF
Congratulations
to all who took part in the Dance Gala at Sadler's Wells on
Sunday 7th July. From the dancers in the Chains video to those
from the Vocational Colleges, all gave us an evening to remember.
The talent, enthusiasm and total commitment was a sheer pleasure
to watch.
The
actresses, Claire Goose and Helen Lederer, generously gave
their time, and added much to the evening, Claire with her
sensitivity in the announcements for the Chains themes, and
Helen with her delightful humour and obvious understanding
of the UNICEF work.
The
project between the ISTD and UNICEF demanded a choreographer
and director of great experience; Chris Baldock more than
met these demands - his enthusiasm and workaholic attitude
was infectious and he certainly brought out the very best
in everyone.
Greg
Snape's original music for Chains and Thursday's Child further
enhanced the quality of the evening.
The
ISTD staff, headed by Jonathan Singleton, co-ordinated the
event in all its aspects from the onset and many thanks are
due to them.
Pat
Prime
Vice Chairman, ISTD
The
Gala at Sadler's Wells on 7th July was a fantastic success. The performance
of Chains was riveting and astounded the audience, many of whom had
obviously no clear idea what to expect.
Helen
Lederer spoke of it bringing a lump to her throat, and many others also
reported having this response. The impact of the obviously child performers
in Chains, was really effective, as is only right in a dance that is
about the plight of children world wide.
For
me, one of the most powerful images is of all their little
hands moving in unison in the air in 'Freedom', as they sing
the lyrics, "Candles burn bright in the night, flickering
in the wind, that cannot put out this flame."
The
audience experiences a whole gamut of emotions during the
course of the six dances, whose diversity of styles and themes
came across brilliantly. I was thrilled at the response of
the audience and anticipate a great future for Chains in schools.
Heather
Jarvis
Head of Education, UNICEF UK Committee
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