It was a privilege to work with inspirational producer, Debbie Chan, and the rest of the team at FACT on the evaluation of its ambitious Networked Narrative project. Unusually, I was engaged over the full duration of the strategic touring programme – almost four years. This meant that together we were really able to look at and think about impacts, both expected and unexpected. It was great also to gain the insights of artists, Mark Titchner and Hwa Young Jung who were commissioned by young people to make work for the public realm.
I think we all learned a great deal that we’ll take into future work. FACT has placed the full evaluation report on its website. There’s a lot of it so it’s probably best tackled in chunks!
You can find it here: https://www.fact.co.uk/media/86190632/networkednarrative_evaluationreport_dec2017_dcameron_covera_lowres.pdf
We had the pleasure of going along to Leeds Soup’s 9th event last night. We’d been invited by Loran Lewis, the brains behind the Let’s Do More CIC and one of the pitchers at the event.
Leeds Soup describes itself as ‘an experiment in micro funding, where like – minded individuals come together, pitch great ideas, eat soup and vote on the project they think benefits the Leeds community the most’. Tickets start at £10 with the winning idea taking away 100% of the evening’s takings.
All four pitchers were great and in the event Phil Pearce of Life Experience won. Life Experience takes personal stories into schools, bail hostels and prisons to enable children and young people to make better and more informed decisions.
Plaudits go out to the volunteers and sponsors of Leeds Soup for providing a great platform for social entrepreneurs to pitch great ideas and for Leeds residents to give seed money to fledgling organisations.
We’re delighted that Rommi Smith was successful in her application to Arts Council England for investment to support the exploration of performative ideas for a new work which will be an homage to historical Blues and Jazz figures.
This creative adventure will take Rommi and her eight artistic collaborators from Leeds to New York and back again, culminating in a live performance and special event at Leeds Art Gallery later in the year. Rommi describes the project as ‘a wonderful opportunity for professional growth, personal development, reflection and creative exploration.’
We’re very pleased to have played a small part in supporting Rommi and the team in this exciting venture.
To learn more about Rommi’s practice, please visit her website at www.rommi-smith.co.uk
We’ve been delighted to work with Yorkshire Sound Women Network to support it in developing an effective operational model to deliver to its ambitions.
Having worked with the Network over the past few months, we’ve learned a bit about digital sound technology and a lot about the under representation of women in music and sound production. The UK Commission for Employment and Skills (UKCES) has highlighted the continuing failure of the sector to train and retain female employees, particularly given the fact that Britain is expected to need 1.2 million new digital workers by 2022. Women should represent a sizeable proportion of that workforce but UKCES’s model suggests that by 2022, the proportion of workers in the digital sector who are women will have barely risen, to just 30%.
In this context, it’s great to observe the strides that the Network is taking to address and challenge historical and current bias and to develop safe, accessible workshops and masterclasses for girls and women with an interest in sound technologies.
We’ve really enjoyed working on the evaluation of Square Peg – Artlink Hull’s year long disability arts programme – so it was a pleasure to catch up with artist in residence, Jason Wilsher – Mills, at the opening of his multi media exhibition – Unexpected Engagement. It’s a great show and highly recommended; it runs until 6 April at Artlink Hull. To quote Jason,
‘We took the city of culture to the people who really needed it.’
Jason’s approach, inspired by his long history of working with communities, was to engage a wide range of different people in Hull in a series of workshops to enable them to tell their own stories through art. This in turn has influenced the creation of his own work for the exhibition.
It was great also to meet Monique Lock and her family who had travelled up from London for the opening. Monique had attended one of Jason’s workshops and her work features in the exhibition.
PANDA arts (panda-arts.org.uk) PANDAsupports venues, companies and individuals working in the performing arts sector in the North by facilitating networks, providing training and consultancy, offering professional advice and guidance, and creating connections. We’ve worked with PANDA on a consultation exercise with its members and supporters.
Yorkshire Sound Women (yorkshiresoundwomen.com) The Network seeks to inspire and enable more women and girls to explore sound and music technology.We were engaged to support the Network in developing a new operational structure in line with its Business Plan. To this end, we surveyed existing core group members, carried out one to one interviews and developed an options appraisal.
Programming a conference is incredibly hard work, made easier by the support of a great team at Engage and Artlink Hull.
Online polling is a great tool for harvesting questions and comments for plenaries.
Contributors’ feedback has been really positive:
‘…it was a pleasure to be part of such a wonderful event. Thanks for all your hard work, together with Engage and I look forward to seeing the questions that emerge’ (Dr Nigel Morpeth)
‘Thank you for inviting me to participate. I had not attended Conference or known much about Engage before this, so I am now aware of its work and will seek to stay involved with the organisation. Your conference design and prep work was impeccable.’ (Tonya Nelson)
‘I thought all of the discussions I was involved in, informally and through the plenary session, were really useful because you had framed the questions and staring points such that discussions got straight into useful areas, rather than reiterating the same old stuff you often hear at conferences. Well done and thank you once agin for organising such a great conference’ (James Hill)
We’re making final preparations for the Engage conference in Hull. We’re looking forward to meeting delegates and contributors. For those of you who can’t join us, the following should give you a taste of what we’re hoping the programme will deliver:
We’re delighted to have been asked to programme this year’s Conference and to have been given the opportunity to invite a range of artists, academics and activists to join us in exploring what diversity means in the context of education, learning and the arts and culture.
The arts and cultural sectors have not always been exemplars in respect of equality and diversity. The workforce is unrepresentative of the wider community and there remains amongst many a feeling that the arts exist for the elite, the educated and the wealthy. Many criticise equality and diversity activity for its outward facing, project- based approach and its reluctance to turn the gaze inwards to internal structures and organisational practice.
Conference opens with a keynote speech by Baroness Kay Andrews entitled A Commonwealth of Culture. Baroness Andrews will reflect upon her experiences of working with the Welsh Government to mainstream access to arts, culture and heritage for the most disadvantaged communities in Wales.
Not least of our challenges in programming Conference has been conceptualising what it is we mean when we talk about diversity. This is why we’ve passed the enquiry – and the first theme of Conference – over to a panel, which will explore the question, What do we talk about when we talk about diversity?
Diversity is only the latest of many terms which has attempted to encapsulate efforts to create a more equal and fair society. In decades past, policy makers and politicians have discussed equal opportunities and business cases for equality. Activists have more usually taken a rights-based approach and have considered issues of equality, social justice, power and privilege alongside efforts to bring about systemic change.
For many, the lexicon of diversity represents an attempt to sanitise issues. For others, diversity feels like an inclusive term which acknowledges individuals’ multifacetedness.
The second key theme of Conference is, Nothing about us without us is for us. This is a rallying call which will feel familiar to disability activists but it’s a slogan which chimes for many minoritised groups who feel that they are sidelined in discussions about what is best for them. Chaired by Tonya Nelson (Head of Museums and Collections at University College London), the panel will provide opportunities to explore issues of power, privilege and intersectionality.
On the morning of 30 November, a choice of breakout sessions will enable delegates to engage more closely with the conference themes. Amongst the themes which will be explored in breakouts are trans allyship; power, privilege and anti racism; and the ways in which a travelling exhibition that tells untold stories of the US civil rights movement can be used to explore contemporary issues of ‘race’ here in the UK.
Returning from lunch, Simon Mellor of Arts Council England will introduce the afternoon’s plenaries and will provide us with an overview of the Arts Council’s values and practice in respect of diversity.
Our third plenary, chaired by writer Anthony Clavane, will focus on agenda setting. Once we have the right people in the room, how do we decide what should be the focus of discussion and action? Anthony will joined by Professor Kevin Hylton of Leeds Beckett University, artist Ivan Liotchev and Bryony Bond, Artistic Director of contemporary art space, The Tetley. We’re expecting that the panel will touch on issues of intercultural dialogue and that delegates will learn about how artists and institutions can make manifest their commitment to equality and social justice.
The final plenary – Are we there yet? How will we know when we get there? – will examine how it is we can measure progress. Over the years, there has been a multitude of frameworks and templates which seek to enable organisations to assess practice and to benchmark against others. How effective have these been – what tangible differences have they made? Wendy McGuinness of Lloyds Bank will reflect on the drivers for change within her organisation whilst other panellists will bring to the conversation their insights into what success might look and how we might recognise it.
In developing the shape and content of Conference, we have been guided by an interest in making opportunities for conversation and for listening. We have tried to avoid a ‘got to’ and ‘not to’ approach, which can inhibit discussion and we are resolutely not going to provide delegates with a standard toolkit for change. Delegates should leave feeling they have learned more about how diversity can be actualised in their particular settings; they should feel more able to be effective advocates for change and should feel more confident to challenge practice where this is necessary.
It’s been a pleasure working with the folk at BIASAN over the past few months as part of our Arts Council England funded project – Telling. We produced their story and in response, artists Mussarat (Mo) Rahman and Douglas Thompson made use of the Telling commission and worked with asylum seekers and refugees to make the animation which you can see at the end of this post.
We’re also very much looking forward to welcoming Mo and Douglas to the Engage International Conference in Hull on 30 November where they will collaborate with Ivan Liotchev to deliver a session focusing on intercultural dialogue and making art with marginalised communities across the globe. To register for Conference, please visit engage.org and follow the link to The Whole Picture.
An extract of our story about BIASAN follows:
Mo: the beauty of the place
When I first met Mussarat – a key organiser and artist at BIASAN, known to everyone as Mo – she was at the home of another volunteer in Saltaire. Soon after I arrived, she apologised for appearing a little pre – occupied; that weekend she was due to accompany a BIASAN service user on a visit to her son in Belgium. The woman had acquired her indefinite leave to remain status so was able to travel freely across the European Union (though, of course, that may change soon for different reasons). Her son, however, had not acquired status and so was stuck in Belgium where he awaited the outcome of his application for asylum. Mo knew a little French so she would hopefully be of some support on the journey. Mo seemed largely unperturbed at the prospect of spending the weekend in Belgium with a woman she knew a little and a man she knew not at all. She toId the story in a matter of fact way and I remember thinking, ‘Is this what BIASAN does? Is this what is expected of people working there?’
I told Mo that to me this seemed way above and beyond the call of duty and exceptionally generous. Mo seemed unfazed: it was a thing that needed doing; she had agreed to it so she would do it. Her concern was that they set off on time so that there was no danger of arriving late and missing connections.
We went on to meet with her again several weeks later. The trip to Belgium had not been without its challenges. She summarised the experience:
I can’t describe it. Never again. He was crackers.
We met in a café in North Leeds and ate things involving avocados, pulses and sourdough. The food was good and the bill for the three of us was probably getting on for half of the weekly food budget for BIASAN’s communal meal.
Mo has been involved with BIASAN for around 10 years. Her role is probably best described as multi – dimensional. She seems to do anything and everything that needs doing and over the duration of Telling she was our fixer, corralling people in to talking to us; setting up meetings; and providing us with background materials. She is a formally trained artist who develops her own projects and who fits her own artistic practice around her ongoing commitment to BIASAN (or perhaps it’s the other way around). Like many of the volunteers we spoke to, BIASAN looms large in Mo’s life. We asked her how she brought an artist’s sensibility to her work with the organisation:
To be honest being an artist doesn’t fit in at all. I felt initially that they expected too many hours out of me which crushed the artist out of me. I was actually just delivering creative arts projects but no art.
That said, ten years on she remains very engaged. She has recruited and selected other artists to work with service users and has enabled BIASAN to collaborate with arts organisations in the city on a range of projects, Cartwright Hall and the National Media Museum amongst others. The way she describes it, art is a form of meditation for Mo:
I’ve done loads of artwork which helps you forget about your own stuff. Art is holistic really… I was an artist before I even got to BIASAN and I’m an artist when I’m out there – when I do my own work.
I’m trying to find a way of using art as a platform to try to focus the brain. I’ve done loads of activities: painting, illustrations etc. I’m just sitting there creating all these things. Focus on your work and forget about all the other stuff… I think it’s my own passion because I love art, love the process and having that space to do my own stuff.
Like most people we spoke to, Mo describes BIASAN as embodying elements of chaos. It doesn’t suit everyone and even for those it does suit, sometimes it can get too much. Art provides her with a means of separating and recalibrating:
Sometimes I just shut the door and ignore everyone because I need that space. I need to think. In a sense, my brain needs it. That’s why I do it – because it puts me in a different space… I get all of that out of it.
She believes that engaging with art can have a similar impact on people who use BIASAN so she works hard to find small pots of money which enable the organisation to pay artists on a sessional basis. Mo figures that if something captures individuals’ interest, it might temporarily distract them from other things. There’s no predicting what will work so Mo engages a range of artists whose practice varies and – importantly – who are able to function in a non – traditional space where numbers and levels of engagement vary from one week to another. Once there, though, artists need to find their own way because there is no formal induction:
Initially, they don’t know how to do it so I say to them ‘Go, walk round the building and talk to people. Have a cup of tea and tell them who you are.’ They need to go chill out and talk to people.
Talking to Lorrain and Douglas later (two resident artists who deliver sessions at BIASAN), they discover that for the past few weeks they have been working in the same space without either being aware of the other’s presence. Having visited BIASAN, Derrick and I had little difficulty understanding how this might occur. We imagined that functioning in the space probably requires a great deal of concentration and focus.
Mo’s approach to the work seems matter of fact and practical. She’s clearly a doer. She talks a lot about what other volunteers do and contribute but seems reluctant to discuss what she gives in anything more than the most general terms. She doesn’t seem to want to draw attention to herself. It’s hard to gauge at first what motivates her to continue to give up so much of her time and energy to BIASAN – where the sense of fellow feeling comes from. Then she drops into the conversation a story about how she has experienced living in Bradford:
I’ve lived all over Bradford. I once had a psycho neighbour. My flat got broken into. The only thing they nicked was a bike. There wasn’t much to nick.
Then when I lived in Southfield Road I liked living there but it was really rough. For an Asian female on my own I was a bit vulnerable, but I can look after myself. The neighbours across the road were horrible. They used to come up to you and look at you and I thought, ‘Yeah, try me’. I’m not into violence and stuff but my issue was ‘This is my pavement and I’ve decided that this is how I’m going to live my life’ so I used to get a lot of shit and they used to think they could pick on me because they thought I was vulnerable but I’m not vulnerable.
I thought, ‘I’ve got a family and brothers and I used to kick shit out of them and I could kick shit out of you.’ So honestly, it was terrible the way they used to be. But I manged to cope with it.
Half of them have moved off. Some are still on drugs and drink. Why should I need to move house because of them? I pay my bills and I make sure I keep a roof over my head. I don’t want to move around like a yoyo. I’m settled there.
Weeks later, when Derrick and I are sitting in the park on that rare hot day trying to make sense of things, Derrick says,
I wonder what made her stay. I wonder why she didn’t leave.
Then neither of us says anything and in the recording you can hear birds and the sounds of a couple playing playing table tennis but not the flies that buzzed around an abandoned sandwich close to the bench.
Mo is made of stern stuff and she seems able to compartmentalise difficult events so that they don’t infect her experience of the world. Despite the neighbours and the break in and the harassment, she likes Bradford. It’s down to earth and friendly. Though less prosperous than Leeds, she likes its distinctiveness. She tells us that people in the asylum seeking system who use BIASAN also describe Bradford as friendly and welcoming. There are limited work opportunities, though, so often once people get their status they move away. For the time that they’re in Bradford, though, Mo sees her role as trying to restore some balance in what can feel like a chaotic and unpredictable period:
You know when you’ve been to hell and back, I try to bring them back into themselves, to feel what it’s like to be in harmony – make them feel a bit more happy in themselves. Sometimes I feel that BIASAN is a place where lost souls are found. That is the beauty of the place.