West Midlands Posse – I’m new in town; hello!

Convener: Ed Jaspers – Teasel Theatre Company

Participants:

Rebecca Atkinson-Lord – Oval House Theatre

Matt Burnham – Warwick Arts Centre

Nicola Salmon – Royal Shakespeare Company

Jenni Jackson

Simon Day – The Plasticine Men

Alan Lyddiard – Director

Summary of discussion, conclusions and/or recommendations:

Ed has moved to Birmingham from London and called the session to meet other West Midlands-based D&Ders.

Rebecca is originally from Wolverhampton but now works at Oval House Theatre in London. She’s keen to collaborate with other development-minded organizations around the country and especially to make connections with her native midlands. She’s also working with Birmingham-based Capital Plays.

Matt is relatively new in post as head of programming at WAC, developing their three main strands of classics, popular entertainment (including comedy), and contemporary work.

Alan is working on “Wings of Desire” a central Birmingham, site-specific dance piece co-produced by Birmingham Hippodrome and Dance Exchange. Also used to run Second City theatre company.

Nicola Salmon is a producer of events and exhibitions for the RSC, whose remit includes education projects, visiting companies and a range of projects which are not home-grown RSC shows.

Jenni Jackson is a performer and theatre-maker. Originally from Nuneaton, now based in London.

Simon is Artistic Director of The Plasticine Men. The company is currently based in Brighton, but Simon worked for a long time in the Midlands, including setting up the Pilot programme which continues to be vibrantly active.

Matt: WAC and RSC are collaborating on audience research at the moment.

Nicky: RSC are holding an open space event in October.

Matt: WAC are working on a joined-up development programme with Stan’s Café (Birmingham), Black Country Touring (rural touring scheme) and Midlands Arts Centre.

Alan’s “Wings of Desire” project sounds amazing. A big central Birmingham event, unticketed and public, playing to 2,000 people over four performances and featuring huge projections and a large cast of dancers and actors, telling the story of an angel who decides to settle in Brum. It’s to tie in with the International Festival of Dance 2012.

Alan also talked about an international collaboration called “Home” which would feature 1,000 individual dance performances on people’s door mats.

Matt: WAC gets 10% of its budget from ACE, the rest has to come from box office and the University’s use of the facilities

Lead in times: RSC tends to need about a year, similar for WAC main house but often more flexibility in the studio as they like to be able to respond to new stuff as well as planning ahead. Oval house plans roughly a year in advance, although the seasons – which give the theme of the programme – are decided 18mnths in advance.

Matt: WAC particularly keen to work more internationally. Excited by projects like Mike Daisey’s “The Agony and The Ecstasy of Steve Jobs”.

Rebecca: Oval house also interested in developing its international reach and in a broader definition of ‘new work’, beyond the literary-leaning idea of ‘new writing’.

Rebecca: Oval house has different levels of support for artists and companies. A range from space to work, small contributions towards expenses and the use of the theatre for showings and scratch performances. Also, less frequently, full commissions of up to £15K, with dedicated spend on marketing to make sure that the company/artist/work get exposure and build a profile for themselves. 3 seasons of 4 – 6 productions each year. Often very busy periods followed by more dark periods. Perhaps three full commissions a year and twelve co-productions.

Matt: WAC working on a new project called ‘Holding Space’ to join up development between different organisations in the West Midlands. A dedicated project manager is to be appointed. Hopefully to incorporate Birmingham Rep, MAC, WAC, Stan’s Café, China Plate, Black Country Touring and others.

Matt: WAC also hosts triggered, a development programme aimed more at local companies. Works on a bespoke model for each project. Even able to programme shows into the main house if that seems appropriate. Recent examples of triggered shows have even sold out the WAC main house.

Simon: It can be frustrating to move around the country chasing funding and development opportunities. Especially when you’re being encouraged to be international. And yet you have to be very regional to qualify for some initiatives.

Simon: East to Edinburgh an example of a scheme where one region gives its artists an opportunity that others would love.

Matt: Any ACE region can decide to implement a scheme like that.

Ed: How can development be joined up nationally and inter-regionally in the way that, say, rep theatres will co-produce shows which move between them?

Matt: Artists also need to take some responsibility for that. Approach a number of development organisations at the same time and put a proposal forward.

Look for theatres that have corresponding spaces, emphases in their programming, audiences etc.

Rebecca: Sharing helps the production to be better (especially if it’s new and beds in over the course of its journey to you and you’re the last venue on the ‘tour’ schedule!).

Simon: Doesn’t feel that he can identify with a region as he has lived and worked in four in the last three years. Feels like a “national” artist – although that sounds too grand!

Simon: Brighton feels oddly out on a limb. Doesn’t feel that there are as many initiatives and opportunities there as in other regions he has experience of.

Matt: Artists’ mobility is limited by the post-code-tied regional emphasis of funding.

Simon: was explicitly told “You’re back to square one” when he moved to a new region, despite a strong record with organisations in other regions.

Rebecca: Do ACE treat symptoms more than causes?

Simon: Accommodation costs are also a big barrier to mobility. Would be great if there were more venues like BAC in London or The Nightingale in Brighton that were also able to house a cast and creative team during development, r&d, performances etc.

Ed: Could ACE team up with the Youth Hostelling Association?

nb- The D&D Roadshow will be going to Stratford Upon Avon on the 7th October, Leicester on the 21st and 22nd June and Stoke on Trent on the 13th of July.

Is it time to de-centralize the Theatre Industry

Convener: Chris Hallam

Participants: Included: Alyson McKechnie, Claire Stappleton, Solene Marie

Summary of discussion, conclusions and/or recommendations:

Is there a perception that the industry demands that creatives have to be based in London or to receive London approval to be validated?

Are we too dependent on the industry being based here?

France instigated de-centralization – encouraging co-productions in the regions. However, reputation is gained in Paris but the money is in the regions. Is it the same here?

France has developed regionally specializations i.e. Puppetry ion one region, street theatre another.

NTS still centred in Glasgow and known for that but they work outwards from there.

Should the NT have a hub in each of the regions?

Should a selection of the best of theatre in the regions go on a rolling tour. Theatre that tours nationally from the nation, to include London as a region rather that the centre.

NTW tours village halls as much as large venues.

De-centralization costs more as the creatives based in London would have to travel more to work outside of London – huge travel costs  OR would cost less as the creatives live and work in their regions particularly but may travel between to spread the work. More cross pollination rather than it just rising from London.

Audiences – London theatre seems to be made for other artists rather than public, regional theatre is more audience focused.

London is a melting pot which is fantastic and is needed, but that doesn’t seem to be pushed outwards as much as it should. London can do very specialized detailed projects well where a concentration of money and skill is needed on specific projects. Why can they not be replicated in regional centres?

While critics won’t travel outside London regularly artists will always feel they need to come to London to receive recognition.

NT Studio is able to attract directors and associates etc to see new artists who wouldn’t normally travel out of London.

Can we break the need to be London? We get more input and inspiration feeding into our work in London.

Critical discourse needs to be in other places outside London.

A need to re-balance the need to come to London, stay regional and be proud of that.

Paines Ploughs announcing not to play a show in London for 2 years will be an interesting to see what happens. However, their admin and creative team are still here.

It is not just theatre but the whole social infrastructure need decentralization.

Top down and from grass roots up. Pissing in the wind to try and change it.

So many artists are not from London but are here for work but would rather be elsewhere. Here out of necessity.

The biggest shift would be if the Arts Council funded regionally per head of population across the country as opposed to London (10% of the population) receiving 50% (Appx.) of funding.

Are we not encouraging actors and young artists to think outside London in their training.

We should encourage artists to be what they are wherever they are.

Why do we always define success by working in London?

Should we run London as region rather than the centre of the arts.

There is a feeling that the best actors are based in London.

How do local artists (& communities) benefit from the big boys parachuting into our cold spots?

Convener: Kate Hall – Creative Peterborough

Participants: Jumped Up Theatre, BAC, Filskit x 3, Spare Tyre (Bonnie) and a few other lovely people

Summary of discussion, conclusions and/or recommendations:

The conversation was framed as not being about knocking the big boys parachuting in, though those sentiments were expressed, but identifying the essential mechanisms for there to be some real, tangible benefits from the parachuting – how to make the best of this opportunity.

WORKING WITH LOCAL ARTISTS

-       Get the fundamentals right by asking what local artists and local communities actually want / need – and decide NOTHING before this conversation had been had. 

-       It (whatever that is) needs to stem from the place where it is coming to.

-       This takes a long time and shouldn’t be rushed.  It probably should have started earlier.

-       If the “big boy” has nothing to offer – they shouldn’t come.

-       Bring in a skills / activity that is not present in that form (otherwise the local artists will want to know – “Why them and not us?”

-       Make the activity meaningful and sustainable (3-5 years, not 3 weeks to 6 months)

-       It has to an honest, transparent and respectful relationship between grown-ups who are equal and have reciprocity

-       There may be indirect benefits, as well as direct BUT these must really be transferred over i.e. the local artists must be given access to the new audiences, local connections etc that the “blow-ins” create (i.e. sharing of contact lists, audience data etc etc.)

-       The artists are local so they can give access to local communities – but the “payment” for this action must be real and useful – i.e. more than a coffee.

-       If the “big boys” are sitting down to pick the brains of local artists they need to demonstrate that they really do value this contribution (and are not being all imperialist and just bleeding the local artists dry) by paying for the artist’s time / effort – cash is preferable, support-in-kind can be negotiated.

-       There is a world of difference from programmed work and integrated work – the latter assumes you know your audiences (and have one.)

-       Include the local artists of the future, so they can see a reason to remain.

-       There is no point unless a meaningful legacy has been left – as a minimal it has to be to increase the capacity of the local artists (i.e. to produce, fund raise, network.)

-       Are their companies who have been here before, contain artists who have a connections to the area? i.e. parachute in ones who share values or share something else with the local artists.

-       If you can, use local artists to deliver what you are doing – or at least make 50% of those artists local.

-       NEW IDEA ALERT: The visitors work (in new ways?) with the same resources as local artists have to (they walk in the local artists shoes) AND If they make a piece of work for that locality it should be a piece of work that they couldn’t have made anywhere else.

-       NEW IDEA ALERT: BAC are providing a platform for artists – Newly Scratched, bringing in artists from the areas that they are touring to.  So local artist goes to “visit” the home of the “big boy” and is given a boost by being given a platform there.

-       NEW IDEA ALERT: Bring in emerging artists, who are closer to the experience of local artists than the “big boys”, and who will also have benefit to gain themselves.  This will result in a more meaningful commitment.

-       NEW IDEA ALERT: Bringing in emerging artists is riskier (than the safe pair of hands of the “big boys”) – utilise this.  Get them to do something risky that local artists have dreams of doing, but don’t know how or daren’t risk their reputation to do.  Let the emerging artist fight the fight, learn the lessons, knock down the obstacles (and all other clichés of arts development), with the local artists being an integral part of the process.  When the emerging artist leaves, a need had been created, and idea tested- and the local artist move into the vacuum –are able to pick it up where the visitor has left off.

-       NEARLY NEW IDEA ALERT: For, in some way, the emerging artists to also be doing the same project elsewhere (simultaneously?), and thereby bring the lessons learnt elsewhere, to this residency.  (There are probably other ways of doing this – i.e. process be informed by an R&D ino similar projects elsewhere, and / or project includes a “live” research / evaluation process.

Examples of networks working in this way are: Creative Ecology Wiltshire (was Theatreworks), HOUSE (South East) and Theatre Bristol.

Another example cited was the Olympics Regenerations of Stratford East and environs – is the activity meaningful?  Is it born from the community it is “transforming”?

HOW TO REACH THE COMMUNITY

-       Pound the streets and talk to passers by (literally) Intensive street outreach.

-       Talk to the agencies that have a relationship with the local communities you want to reach.

-       Local artists are a community in their own right, and they are also part of the local community.  They should only be used as agents / brokers if you understand what they do and what their moral compass is. (values)

-       This takes a long time and shouldn’t be rushed.  It probably should have been started earlier.

-       If it can’t be long – make it intensive

-       Ask questions like: Who is asking the questions? What are your access issues?  What shall we do together?

-       If you are, just, shiny and sexy and get the pulse going – what is built in to build on this…

-       Don’t chase numbers, chase quality EQUALS change that is effective, and therefore does reach numbers

-       If you are using existing networks, which have been developed or offered by local artists etc, you are also being asked to safeguard the trust that they have built up.

-       NEARLY NEW IDEA ALERT: Look how international aid works – it reaches the community it needs to reach by having a dialogue with local leaders / stakeholders / gatekeepers about what is needs.  And then allocating funding and resources appropriately, including handing them over, to be distributed locally.

-       Matching product and place.  Do what suits the community you are trying to reach will respond to i.e. Project in Bristol where exhibits were created following visits to Asian family homes where their stories were captured.  Q: How to maintain engagement with this new audience for the gallery – did they go back?  Did this change their cultural habit?

-       Have a long running, consistent drop-in programme running so that once communities are engaged, they have somewhere to go even when the circus leaves town.

The “big boys” pitch to the ARTISTS and COMMUNITIES  - and it is them who have the “nay” or “yeh” as to what happens (we will tell you what we want, what do you bring to our table…)

This consultation should be meaningful (refer to The Ladder of Participation) rather than tokenistic.

Note to self: Connected Culture….

The Poly, Falmouth needs an awesome general manager

Convener: Tom Frankland

Participants: Sally, Huw, Dan, Zoe, Nadine, Simon

Summary of discussion, conclusions and/or recommendations:

The Poly in Falmouth (a small arts venue) is recruiting for it’s general manager position. My friend, the outgoing manager, texted me this morning to ask if I could help spread the word. This was my response!

The job can be seen at http://www.thepoly.org/jobs and the  deadline is Friday 2^nd March.

Our conversation took us through a discussion of why rural regions need awesome people and how appealing  and also scary it is to move to somewhere so far away from London. How difficult it is to recruit for positions and where can you do so?

Arts jobs, Arts Professional, but is word of mouth always the best way? Mostly is a job advert already filled but they have to legally advertise it?

Will there be a glut of people looking for work post Olympics when contracts end in October?

We talked about how fantastic Cornwall is and about the Poly, several people had taken shows there and were interested in an arts job that would take you to the seaside.

We talked about babies and families and Huw recommended that when children are babies, you need your mates around you. When they are little they need space to run around and when they are teenagers they need the stimulation of the city.

We talked about difficulties of running a venue and the need to be committed and passionate. We discussed wheteher you should give your audience what they ask for or if a programmer should lead with their own taste.

Deadline for the job is March 2nd – not much time to apply!