I spent this morning singing with teachers on a pier. As a trainer, I was paid for this; the teachers were also paid, in that the work they would normally have done at school was covered by other teachers. We were led by a wonderful vocalist through a series of exercises and activities in voice, rhythm, posture, presentation and performance. The vocalist was paid, too.

I’m chanting this mantra of remuneration for a slightly perverse reason. Creating a site-specific jazz riff on ‘Row Row Your Boat’ may or may not immediately help students hit their government-mandated targets in maths, literacy or other subjects. Discovering the wonders of diaphragmatic breathing may not correlate directly with better classroom behaviour. In fact, if I’m completely honest, it is possible that today’s session in all of its singing, vocalising, rapping, snapping, clapping glory–all in promenade, beneath the glorious summer sun, on a wooden platform stretching into the sea–might have no effect at all, other than to have been an awful lot of fun for those of us actually doing it.

It is perhaps reckless to say such things at a time when school budgets are being slashed, teacher pensions are being pared back, and indeed the entire public infrastructure is under siege. Better to keep quiet, perhaps, about such blatantly joyfully, possibly not terribly ‘practical’ work, right? Wrong. Now is precisely the time to talk about sessions like today’s. The adage says to sing when you’re winning. That’s easy. But to sing, loudly and without fear (and in public), when everything you feel is valuable in society is under threat? That is something else entirely.That is a statement of rebellion. A statement of value.

And that value is this: teachers, and everyone else who toils in the public sector, deserve their opportunities to leave the classroom behind for a morning and revisit joy, laughter, enjoyment, and emotional wonderment. Strangely, we do not begrudge these things to the private sector so worshipped by our political masters. I know plenty of folks in business who, despite being under the media microscope more than ever, still have their ‘away’ days playing paintball or their lavish end-of-quarter bashes on the continent. Such things aren’t considered perqs or frivolities. The private sector knows that loosening up, playing and celebrating are essential components to unlocking camaraderie and creativity. 

We don’t apply the same standards to public sector employees. Teachers, in particular, feel a tremendous burden to make every second of their working lives visibly and measurably ‘count’ in the service of boxes ticked and targets attained. For lower pay and longer hours, we work them harder and harder. And if they’re let out of teaching duties for professional development, well…it had better produce results.

I’m confident that today’s session will, in fact, produce results. The teachers left our session humming and smiling. They were talking about how to bring music and rhythm into their classrooms as ways of engaging children. They were talking about planning more trips to the seaside and the pier in the still-warm months of the early autumn. They felt good. They were energised, excited about life and work, and feeling creative and full of ideas. And that, of course, is pretty much the general ‘person description’ coveted by any private company worth its stock shares.

If the government really wants the public sector to be more like the private one, they need to put their money where their rhetoric is. It’s not about tests, targets, cuts, threats and half-baked restructuring. Instead, we need to loosen up and let teachers, and perhaps everyone in the public sector, sing a bit.

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first posted at http://reauthoringproject.wordpress.com

Hello out there in ReAuthoring land. Yes, it’s been awhile since there’s been a post here (nearly a year, to be precise) but silence doesn’t mean inaction. We’ve been busy tinkering away in the ReAuthoring shop…new ideas, new partners, new projects. Stay tuned.

In the mean time, enjoy the following gentle piss-take on the whole ‘medium is the message’ craze in the literary world, courtesy of Horrible Histories, which is possibly the best sketch programme on the telly at present. Great!

 

First published in ArtsProfessional 235, 11 April 2010 (some links modified from original article)

 

As a sucker for the double entendre, I’ve always had a soft spot for the phrase, ‘lie of the land’, which turns rather neatly in the wake of the recent funding decisions unveiled by Arts Council England. It’s still early days, but for the arts sector the lie of the land betrays a future of hard battling for favourite art forms and organisations, amidst a general bun-fight for limited resources and (ignoring the potential irony) cries of sector-wide solidarity.

But there is the lie of the land, and lies in the cultural landscape…and both the arts sector and Government are guilty of fomenting the latter.

Let’s start with the arts sector, which if not consciously spreading a lie is too often guilty of peddling a position that few seem to be buying. I call it the Spinach Argument, something familiar to any parent trying to broaden their child’s diet: you (offspring/society) need (spinach or broccoli/the arts or culture) because it’s good for you. The latest Taking Part survey  seems to indicate that a new approach is needed, since stagnant arts engagement won’t do much to change the general opinion that the arts are an easy cut. Ways forward might be found in the Knowledge Transfer Partnerships scheme, now being applied to the arts and which seeks to link practice, theory and perception. There is also potential here in a more robust dialogue around participatory arts

The ‘lie’ peddled by Government arises from those familiar bedfellows, ideology and ignorance. The Government’s various actions, including its dismal ACE budget, convey the message that the arts are a bauble, an adornment—and thus destined always to be first on the fiscal chopping block. But there’s a disconnect: key ministers bang on about innovation as essential to Future Britain, all the while having virtually nothing to say about the processes or context that enable a society to be innovative.

If creativity is the indisputable engine of innovation, then surely the arts provide essential creative fuel. In this context, it may be that the Spinach Argument needs to be made more convincingly to Government…even as the sector explores new ways of discovering how and why the arts fit into people’s lives more generally. As a push-back against the cuts, I know colleagues who will find these arguments too reductive; certainly, it may be more comforting to rail against the unfairness of the situation. And in many senses, it is unfair: for the price of a single Typhoon warplane most of the ACE cuts could have been avoided. But that’s not the world we live in.

For British arts and culture, more change is yet to come: anyone reading the lie of the land can see that much already. The question is whether the sector itself will be driver, bystander or victim.

 

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Just back from a few days in Lithuania, a country I’ll admit that I never anticipated visiting. In fact, one might argue that the only way to develop an appreciation for a country so far off the Western cultural radar is to be thrown into it headlong, which was my experience: Nimble Fish was asked to deliver a pilot programme seeking to link cultural entrepreneurs with schools, in a Creative Partnerships style arrangement. This sort of thing is new in Lithuania, so much so that the language doesn’t even have a word for ‘entrepreneur’.

The intention, of course, was to convey British knowledge about creativity-in-education for the benefit of Lithuania’s next generation of artists, teachers and young people. I’d like to think that some of that happened, but what struck me most was how much creativity, drive and energy are already in play there. There are artists collectives linked with government ministries, university students launching visionary cultural NGOs, and all manner of activity aimed at transformation, improvement, and enlightenment. In short, Lithuania is a country very much buzzing with creative energy and action (perhaps less surprising knowing that the capital, Vilnius, was the 2009 European Capital of Culture.) And all of it, happening on a comparative shoestring.

The Arts Council cuts announced yesterday were painful to many, and I’d be the first to say that Government is foolhardy to do so much damage for so little return: drop a Eurofighter or two, and that’s the arts sorted. And yet, despite the cuts we remain rich in ideas, experience and talent…and relatively speaking, rich also in money and infrastructure. Artists and cultural entrepreneurs are making amazing things happen in Lithuania, with far fewer resources. We can and must continue to make amazing things happen here, whatever idiocy is handed down by Government.

By the way, if you’re in the market for a great rural getaway I can highly recommend this little place outside of Trakai…

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Dateline: London

Reports of eagle-eyed young people sleuthing for clues are on the rise today following the opening of several new Culture Detective Bureaus across London. In these school-based Bureaus, young Detectives are being trained to find evidence around them leading to the discovery of what ‘culture’ means to their communities and how it connects them to the 2012 London Olympics. Altogether, nine Culture Detective Bureaus are being established.

The Detectives are using many sleuthing tools in their search for cultural evidence, including film, photo, movement, and art. Below is a snapshot of a recent exploration captured via Comic Life by Abigail Hunt (Culture Detectives Bureau Chief, Lewisham branch). Note the 3-D speech bubbles!

The Culture Detectives project is conceived and run by Nimble Fish as part of the Biggest Learning Opportunity on Earth programme, a creative learning programme taking place across more than 140 London schools. The programme is the largest such educational scheme specifically focused on the upcoming London Olympic and Paralympic Games.

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…seem of late to be coming in multiples for we Nimble Fishes, which ain’t no bad thing. Of course, it’d be nicer if they didn’t all pile into roughly the same timeframe (between now and, oh, September) but we’re pleased that all the shuckin’ and jivin’ we’ve been doing over the past six months or so is beginning to pay off so nicely.

More details soon, but we look forward to working on behalf of new funders and collaboratively with new partners (and in the case of one project, in a new country!)

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A belated yet big thanks to everyone who came out last week to see the second iteration of Sounds of the Stars, our immersive installation that one audience member called “stargazing on steroids.” Fantastic feedback from the packed house at The Arts Catalyst, and much food for thought from artists, scientists, punters, and friends. And none of our tech broke down, which helps. Big thanks to Nahum, Nicola, Rob and everyone else who helped out with the gig.

Stay tuned for next steps with the project. There will be some, and they will be soon.

 

We met up last week with two old friends, Jack and Mike. ‘Old’ is a relative term in this context, since Jack and Mike are barely into their 20s. But they first worked with us way back in 2006, when they were secondary school students contributing to our Einstein’s Dreams project. When we say ‘contributed’, we mean it: Jack created bespoke stop-motion animation for the piece, while Mike among other things created a wonderful photo montage. Both creations were key parts of the piece and both lads, along with several of their peers, worked alongside our professional creative team to devise and troubleshoot key elements of the work.

Five years later, both lads are deep into their university studies, Jack at Bristol and Mike in Australia. What was so heartening was to hear how excited and inventive they remain about pursuing a life in the creative universe….this despite austerity, a perceived devaluing of arts-led work specifically, and questionable economic prospects more generally. Thing is, they know all of this; and yet, they’re determined to push forward with their ideas and energy.

We will keep in touch with Jack and Mike as they move from uni into the working world. Collaborators with us in the past, we surely want them as collaborators in the future…whatever that may be.

 

first published at www.artsprofessional.co.uk

The holiday season can play strange tricks on one’s associative sensibilities. Examples abound: Pine trees + living rooms = bubbly cheer. Bad choral singing + overstuffed shopping malls = community spirit. Likewise, events that in less emotionally heightened times might appear to have little in common suddenly seem to burst with connection.

Here’s what I mean: last week, two items of news melded together in what felt like oracular fashion for me. The first item could hardly be missed: the announcement of the London 2012 Festival, the 12-week arts-a-thon meant to justify the reported £83m being poured (largely from public sources) into that elusive thing called the Cultural Olympiad. At first blush, the Festival looks something like a mash-up of Glastonbury, WOMAD and a large wicker basketful of Barbican-esque offerings. How it will all hang together, or even if it’s meant to, remains to be seen.

The second news item was a brief e-mail from an organisation called Hidden Art. I’d never heard of them, but upon closer inspection Hidden Art appears to be one of those quiet yet busy arts companies that does a lot to keep a variety of artists informed and in funds. Hidden Art actively promotes the commerce end of its artists and has a broad, international spread of income. Tick and tick again in important boxes aligned with the government’s brave new world of the arts.

Yet the e-mail sent to me, and god knows who else, was a desperate plea for cash, because Hidden Art is on the verge of shutting down. It turns out that a big chunk of Hidden Art’s support comes from a London Development Agency (LDA) matching fund that looks likely to disappear. Government match funding to support the arts…haven’t we heard that one recently? Apparently, being asked to make up half its income gap in the space of a few months is a rather tall order for Hidden Art. What a shock.

I imagine sitting here in two years’ time, lolling into the 2012 holiday season. The tree is up; the parties are in full swing. The Olympics will have come and gone: Cate Blanchett, Toni Morrison, Damon Albarn and the other London 2012 Festival headliners will have pocketed their fees and moved on. By then, of course, the austerity hatchets now raining down on the nation’s arts provision will have done their work: we now talk about the hurt, but by then we’ll surely feel it. I wonder whether Hidden Art will have survived. Here’s a holiday wish that they do.

But regardless of Hidden Art’s fate, I also wonder how many other ‘hidden’ artists – the ones that don’t win Oscars or have massive hype machines at their disposal – will have quietly faded away by the time the Cultural Olympiad is no more than an expensive memory. And with each lost artist and company, I wonder how much more diminished will be the cultural landscape that the 2012 Cultural Olympiad is meant, in theory, to celebrate.

 

A random, holiday-inspired list of stuff that was good in the Nimble Fish universe in 2010:

  • Creating and delivering Space to Learn, our new programme of site-responsive teaching and learning. We engaged eight schools, dozens of teachers and loads of kids. It was about how to re-see and re-use the spaces and places all around us as innovative locations to enhance teaching. Great fun, and more to come.
  • We were pleased and proud to have taken our first Re:authoring Project offering, Katherine May‘s Burning Out, to the Pulse Fringe Festival. Re:authoring has been quiet this autumn but will pick up in the spring (so watch this Nimble space.)
  • The re:bourne festival was a real highlight of 2010. Created with our friends at Workers of Art, the festival was a site-responsive, community co-devised celebration of the past, present and future of Sittingbourne, a place that gets more knocks than it deserves. We had a blast doing it; hopefully, the more than 3,000 people who came along had fun, too.
  • Very pleased to have been selected as one of 13 arts companies to help A New Direction deliver the Biggest Learning Opportunity on Earth, an arts-led and Olympics-focused programme of work stretching across 145 London schools…which makes it the largest education programme associated with the London 2012 Olympics. Just finishing the planning phase of things and looking forward to kicking things into gear in 2011.
  • We were glad to be able to help our friend Laura Mugridge get some things sorted for her fab new show, Running on Air, which went on to win a Fringe First at this year’s Edinburgh Festival Fringe. The show was very much Laura’s and Tom’s baby, but we enjoyed being part of the early development dialogue and helping Laura score some kit to make the show happen. Running on Air will tour soon; don’t miss it!
  • Thinking, planning, devising, and laughing with our friends and collaborators. The future of the arts sector sometimes looks scary right now, but it is also filled with opportunity and great people. Happy holidays, and here’s to a prosperous and exciting new year!

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