Notes and plans


The Hurrier is currently in pre-production and due for completion late in 2021. More news of the production and proposed showings will be posted here.

Look out for news of a show at APT Gallery, London SE8 in early December and with Five Years early next year as well as screening and connections in Scotland.

Opening space to talk about class and sexuality is so central for this work – and please get in touch if this connects with work you are involved with!

Thanks to the amazing Working Class Creatives Database for the ‘instagram takeover’ in May – such great feedback and connections from that!

A huge thank you to all who supported the Crowdfunder for this work – very much appreciated.

For further information, please contact:

Instagram @anrobs

The Hurrier, work in progress, May, 2021



1 Betty Harris, testimony to Ashley’s Mines Commission [Parliamentary Papers, 1842, vols. XV-XVII, Appendix I, pp. 252, 258, 439, 461; Appendix II, pp. 107, 122, 205.] (accessed 30/10/2020) 

2 Piss Factory (1974) Patti Smith.

3 Construction drawings by Robinson, 2020, based on archival film footage from educational film:

Nine Centuries of Coal,  1958, UK 31mins. dir. J. B. Napier-Bell.

4 Henry Higgins, character in My Fair Lady, 1964, US, dir. George Cukor, based on Pygmalion by G. B. Shaw. (With thanks to Frances Hatherley who cites this dialogue in her PhD thesis).

5 Beverley Skeggs (2016) Class: Disidentification, Singular Selves and Person-Value. 31/10/20)

Wakeful (2018) project website:

7 Jeffrey Sconce (2000) Haunted Media: Electronic Presence from Telegraphy to Television, Durham: Duke University Press, p92.

8 Images from Kirk Sessions Records 1799-1880, Dailly Parish, held at Ayrshire Archives: two entries on Robinson ancestors: Ann Kennedy and Rosina Burns. Also 1833-4 Poor’s Roll for Dailly Parish and Kirk Sessions Records for Colmonell, held at Ayrshire Archives.

(9) from Kirk Sessions Records 1799-1880, Dailly Parish, held at Ayrshire Archives

10 The ‘Branks’ or scold’s bridle’ Scotland. Image from: 30/10/20)

11 Draft storyboard image (2020) Robinson.

12  Iraqi saying on parents handing over children for  ‘apprenticeship’. Seen by the artist in Michael Rakowitz exhibition, Whitechapel Gallery, 2018.

13 See: P.E.H. Hair (2000) Slavery and liberty: The case of the Scottish Colliers, Slavery & Abolition, 21:3.

14 Testimony Gathered by Ashley’s Mines Commission [Parliamentary Papers, 1842, vols. XV-XVII, Appendix I, pp. 252, 258, 439, 461; Appendix II, pp. 107, 122, 205.] (accessed 30/10/2020)

15 ‘A Case of Accidental Entombment’ in:The Scotsman, 7 November, 1835.

16 Ken Taylor (1964, The Devil and John Brown, screenplay.

17 Thea Musgrave (1967) The Decision, opera with Libretto by Maurice Lyndsay.

18 Still from: Aelita (1924), dir. Yakov Protazanov, USSR.

 19 Michael Sainato (2020) ’I’m not a robot’: Amazon workers condemn unsafe, grueling conditions at warehouse’ in The Guardian, Mon. 5th Feb. 2020. (accessed 31/10/2020.

20 Beverley Skeggs (2004) Class, Self Culture, London, NY: Rooutledge, p180.

21 bell hooks (1984) Feminist theory form margins to center.

22 Françoise Vergès (2019) ‘Capitalocene, Waste, Race, and Gender’ in E-flux, Journal #100 May 2019  (accessed: 30/10/2020).

23 David Graeber (2014) ‘Caring too much. That’s the curse of the working classes’ in: The Guardian,  Weds 26th March, 2014 (accessed: 30/10/2020). 

24 Valerie Walkerdine (1994) ‘Working class women : psychological and social aspects of survival’ in: Persée, (accessed: 30/10/2020).

25 Rhian E. Jones (2013) Clampdown: Pop-Cultural Wars on Class and Gender, Zero Books.

26 Works including: 

Kae Tempest:Brand New Ancients, 2013.

Lois Weaver and Split Britches: Upwardly Mobile Home, 1984.

Petra Bauer and SCOT-PEP: Workers!  2019.

Andrea Luka Zimmerman: Here for Life, 2018.

27 Frances Hatherley (2017) Sublime Dissension: A Working-Class Anti-PygmalionAesthetics of the Female Grotesque, PhD thesis, Middlesex University.

28 Robinson, 2020, writings in progress for The Hurrier.

29 Photo credit: “amazon warehouse” by hnnbz is licensed under CC BY 2.0

30 Simon O’Sullivan, (accessed 14/06/2021)

Further information about the Scottish Kirk Sessions may be found at:

and on Mining in Scotland at:

Contingency Plans:

Contingency budget note: c19 contingency 1000

This is to cover accessibility and digital adaptation as required if the PHE or Scottish Government requirements change during the making of the work. This will be set against travel budget and tech support on site, from original budget.

Contingency planning notes in light of C19.

A – assuming Tier 2 England rules:

  1. In pre-production, all planning meetings and other preparation, including rehearsals can be done remotely using zoom/phone/emails.
  2. Communications on object/costume fabrication may be acheived remotely by camera/zoom.
  3. Any props which have to be used more than one will be fully cleaned and quarantined.
  4. Safety guidance and expectations of crew, performers and assistants will be circulated in advance along with production call sheets.
  5. All prior planning to identify equipment or digital recording issues may be done via zoom in advance.
  6. All filming is currently being planned to conform to rules of social distancing. As only one performer will be filmed at any given time, this should not present any immediate issues in terms of distance between crew members and performer and each other and mask wearing – including performer up to the point of action. Hand hygeine will be observed and equipment will not be shared.
  7. Crew, performers and assistants as needed at each stage will be able to collect essential gear safely from lead artist and all travel to locations independently.
  8. Recording in Scotland may be carried out by team organised under local guidance of Dianne Barry, Filmmaker and Media Lecturer at Glasgow City College and remote direction by lead artist.
  9. Sound recording which requires vocal work will be planned and rehearsed extensively in advance using remote means and recorded in professional studio allowing remote viewing. 
  10. For post production, all work may be effectiely carried out remotely/digitally.
  11. Assume at present that screenings may be in very late 2021 in gallery space. However, should adaptations still be required, these will conform to regulations at that point
  12. A programme of digital events and screenings will be devised to complement live showings and this will be extended in light of any further need for C19 restrictions at that stage.

B Assuming full lockdown during production phase:

All of above section A should still be possible, with items 6. and 7. changed to:

6/7. One of two scenarios will be adopted to cover filming recording, adapting to the situation – either digital video cameras with media will be loaned to performers who will then be directed remotely/digitally and then equipment quarantined – or: all five recording sessions will be postponed by up to four weeks if this is more feasible at the time an then carried out as above.

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