This week has been hectic. Research visits in London with Platform London and Ovalhouse Theatre; a participatory art workshop commission for Berwick Visual Arts; working on a lab session about collective working, the commons and ending status-quos for arts organisations that I’m co-delivering in London in November; talking about The New Rules for Public Art with a Scottish artist’s collective; working to continue to develop our work with dot to dot active arts in Blyth; developing new NHS commissions in Cumbria and Northumberland; and attending the Culture Action Europe Beyond the Obvious conference which took place in NewcastleGateshead over the past few days.
This is a very short blog post about my experience at the conference and my hopes for the Beyond the Familiar ‘fringe’ event tomorrow.
The conference was clearly split between the policy-following institutions and the smaller, more radical factions and artists. I met a great many radical thinkers, some socially engaged activists, and even some policymakers who seemed to see the need for big changes to the way arts and culture is funded and who it is for. This was great!
I heard many ‘old-school’ perspectives – a bit of ‘knowledge sharing’ here; a little ‘partnership working’ there’; even the ubiquitous ‘we’re doing this already’ and ‘we’ve always worked like this’. I rolled my eyes like one of Sendak’s Wild Things. Over my years of practicing in this field, I developed a proficiency for this.
All was not lost, however, because, even though ‘the great and the good’ reeled off their ‘holistic cases for public investments’ and chanted ‘cultural regeneration’ mantras, the voice of dissent was clear amongst a significant number of the people there. This was very encouraging.
The session that nailed the distinction between the forces of elitism, instrumentalism, policymaking and institution-building and the guerrilla tactics of those into ‘small’, local, grassroots collective strategic engagement happened earlier today. In short, the UK What Next? movement was pitted against grassroots political and socially engaged activist movements from Europe (Spain and Croatia). This was a battle of tea and biscuits versus take-to-the-streets (and Net) protests; polite discussion versus political activism. The UK’s navel-gazing about ‘how do we get people to understand the arts?’ was exposed for all it’s frailties and limpness. The activists have the answer: ENGAGE outside of institutions; be grassroots; take art to the people; make art as a people.
These are critical debates that are just not often had in the UK. Art as social practice is immensely capable of bringing arts to the people – a force for real paradigm shift. It is anti-elitist, grassroots and political. People not into art get it because they are a part of it. The ‘arts leaders’ and policymakers with their top-down approaches do not seem to understand that grassroots, self-organised, collective action offers other, more truly democratic ways to place art and culture back where it belongs – by and of the people.
I look forward to tomorrow…