Why are we here?
This is a serious question not (just) me being a smart arse.
Why did State of the Arts 2012 happen in the first place? What did the organisers want the attendees to get from the day? Because I’m still not sure.
Was it instruction; is it for you to address us, give us the words of important people, so we learn something and go away inspired? And if so what was the curriculum and why were certain teachers chosen over others?
Was the purposive discursive? For us to talk out the issues amongst ourselves, make connections and address our concerns?
Were we addressing you? Was this our opportunity to get the issues that matter over to you? Because this might not be the best format for that purpose.
I have to admit I’m becoming weary of Arts conferences generally because it tends to be the same people talking to the same people and after it all ends nothing really changes. Maybe I’m being too short-termist and impatient, but I’d just like us to come out with a series of actions, and you to come out with a series of actions and for us all to see what happened to those actions, in a year’s time or whatever. To feel that when our opinion was being sought it wasn’t just lipservice.
Another solution - become folk universities?
Folk Universities are based around the idea that knowledge and learning don’t belong exclusively in organisations. They aim to democratise the notion of knowledge and involve a diverse range of people.
‘The Govan Folk University is a partnership of educational, arts, religious, community and social enterprise organisations. We come together so as to recognise and strengthen Govan as a place of learning. We aspire to reclaim the meaning of education in ways that deepen the many forms that it can take in the community. This includes honouring our cultural values and sharing skills that are born of experience and rooted in a sense of people, place and purpose - to serve all that gives life in Govan and the wider community’.
http://www.govanfolkuniversity.org/
Perhaps our arts organisations should become folk universities, or at least take a leaf out of their book. Do things that are not usually associated with our organisations. Make partnerships with unusual, diverse people. Work will need to be done on overcoming pre-conceptions and we must change our ideas on acceptable forms of behaviour.
One solution…
The truth of this work is this: you might not see the results of this work for a generation – but how do you argue that to politicians/funders?
We must stop the short termism of funding.
We need to resist the myth of the ‘cultural desert’
Look more closely at the local. Celebrate the cultural activity which is going on beyond the surface of our towns. There will always be artistic activity going on, it just might not be in the form the Arts Council are looking at.
Artists and communities session two – the answers
Part two of the day is taking place with the following
David Flemming – Director National Museums Liverpool
Peter Jenkinson Co- director Culture and Conflict
Ruth Little – Associate Director Cape Farewell
I’m still writing up the notes from part one of the day, too much of a perfectionist to update them in a shoddy form, but watch this space
Dan Thompson - opening address
Artists are restless innovators.
Dan was interested how the topic of this panel separates the two. This should not be possible, artists are part of communities.
Dan provocatively questioned if we really need organisations and went on to discuss a couple of his projects
Riot clean up - a mass community action organised through twitter. There were no leaders, just local peopling help their communities
Empty shop networks -got their first funding £10,000 least year, because it got to the point where it was embarrassing that ACE hadn’t funded them yet.
Very local, entrepreneurial. A group of plate spinners simultaneously doing other things.
Empty shop network are and always have been part of the community
Artists and communities - funding
Can we rethink funding applications for small organisations so they are less laborious and time consuming to complete for small/community organisations?
Dan Thompson suggests relationship managers at ACE have a budget - this can be used this to help people from these types of organisations write funding applications
How do we turn people from ‘the observed’ to ‘the observer’?
Morality and exit strategies
What happens to communities when artists work with them and then leave? Is this ethical?
Participatory and community art are not helpful terms. Good art is good art.Dan Thompson
Hello!
My name is Rachel and I’ll be covering Artists and Communities later this afternoon -
The first session will be chaired by Liz Pugh - Co-Director of Walk the Plank. Speakers: Dan Thompson social artist and Artistic Director, Revolutionary Arts and Rosie Kay Rayne Choreographic Fellow and Artistic Director, Rosie Kay Dance Company
