ArtWorks Alliance Gathering July 2023 Summary

On the 6th July, we met online for our regular ArtWorks Alliance online member’s gathering. Facilitated by Sue Caudle, we discussed a number of issues, and this post is a summary of the key points that were made after conversations in break-out groups.

One group highlighted the danger of promoting siloism, and noted the potential for losing human connectivity by emphasising only the distinguishing factors in our work. They stressed the need to avoid compartmentalising our work into isolated categories, which could lead to a loss of human connection. It was felt that we should continue to emphasise the importance of valuing all levels of participation by recognising and appreciating the contributions of everyone involved, regardless of their role or level of involvement. The group also discussed the need to articulate our work in a way that is intelligible to everyone, and communicate our work in a clear, understandable manner that can be easily grasped by all. However, they also noted the importance of not being seen as just a door unlocking mechanism for other sectors. Some concern was expressed that this perception could limit creativity and lead to transactional output, where the focus is more on delivering specific results rather than fostering creativity and innovation.

Members of the second groups summarised their discussion, starting off with talking about personal agency as a key factor in developing participatory arts. They had discussed how both personal and community agency is developed through participatory arts practice, but they questioned whether this work should all be focused on the individual, or if it might be better to open the process up to groups acting in community to achieve things. They discussed the need to define quality within the sector and have conversation within the sector that demonstrate and articulate what quality is as a living process. They mentioned a quote: “We don’t just want, we want a stretch-zone, not a friendly club within it.” They also highlighted the need to recognise the narrative and the history of the work that they are part of, while articulating a sense that “my art will be art is participation.”

The discussion in this group also recognised that there is a need to train people in the participatory principles of participatory arts, that can help people who are new to the movement to recognise that it is not something that necessarily comes naturally. In doing this, the group reported that they hoped to identify a more specific and recognisable culture of community arts, which could be articulated to the Arts Council and other funding organisations. The group suggested that there is some misapprehension about whether the Arts Council England’s strategy is achieving what it seeks to achieve, and whether many participative arts practitioners actually even understand it.

Lastly, the group highlighted that the work of participatory artists, and the existence of participatory artists, is a challenge to things as the stand, and the power structures both within their sectors and the societies we work with. The group made the point that we need to find the right people to talk to in the right ways, and look at things that they can be part of, not just within the art sector, but outside as well. The sentiment was summed up by saying that they believe that participatory arts really matters, and that we shouldn’t be reluctant in indicating the importance and significance of their work and discussions.

The next group to report back said they spent most of their time discussing the language used by participatory arts, and thinking about the hierarchies that shape their approaches. This group felt that many of the things they discussed echoed what other groups had been discussing, especially around the language used and hierarchies. They discussed the need to articulate what they do in a way that is intelligible to everyone and doesn’t feel super-arts specific. The felt it would be better to use language that would enable us to position ourselves as practitioners who can be embedded across other forms of the sector.

They also discussed the need to distil our messages so that we can be better understood, and to counter negative and narrow perceptions about what we do, and in the process to question the terms we use. They also discussed how arts and creativity might be threatening and how they need to hear more from the end beneficiaries, in terms of the purpose of participatory arts as a process for enhancing social justice, and that participatory arts can be considered as a set of tools that can allow people to participate in society.

They distilled their discussion into three points on what they do and who they are. They stated that what they do may look soft, but the intention is not soft. They are shifting, not reflecting, social power dynamics, and what they do is about social justice. This group also discussed the need to have conversations with participants and share these discussions with the people who shape policy and practice to advocate for better support. They also discussed the need to challenge the sector hierarchy and to speak honestly with funders about how the value isn’t just in an activity, but how the activities they do are catalysts for something else that is of more value.

The fourth group reported that they had a conversation around the idea of proof and the partnership of academics and the participatory art sector. They discussed the importance of being more true, genuine, and authentic in achieving the difference they make to ensure that people prosper. They talked about the role of people they work with in telling their story, which they felt is a key aspect of participatory arts. They also considered what they can do as a network to get creative ideas and messages out.

They discussed the importance of listening and exploring, and how they can start looking at creative ideas as a network to get messages out, and they touched on the idea of high-profile awards events in their sector that do not seem to ever have any of the work that we do in their profiles. They felt that there is something about the profile of participatory arts, in terms of quality needing to be something that’s demonstrated more clearly, and that its essential to remember that participatory arts can be an inclusive space for narratives to be developed and shared that are truly impactful.

Picking out some main issues from our general discussion:

• It was noted the tendency to focus on the impacts of our work that funders want to hear about, such as the difference we’re making, the number of people we’re reaching, and the number of sessions we’re conducting. A desire was noted for shifting this focus away from the funders’ agenda towards knowledge that is useful to them as organisations and to others involved in similar work.
• The need for honest sharing of knowledge with other organisations was discussed, particularly in relation to the importance of having honest dialogues with academics. Concern was expressed about experiences where researchers have taken what We need and not fed back into the organisations or individual practices.
• The need for a mutually beneficial collaboration between participatory artists and academics was also noted, recognising that both bring their specialism and knowledge to the table.
• The need for more creativity in terms of funding was noted, recognising that there are many ways to fund and facilitate organisations to thrive, which are not currently in the system.
• The conversation highlighted the need to challenge the Arts Council strategy and whether it is being achieved or even understood.
• The point was made that we need to continue to challenge power structures within their sectors and the societies, while recognising that our very existence as participatory artists is a challenge to these structures.
• It was suggested that we need to find the right people to talk to in the right ways and look at things that the ArtWorks Alliance can be part of, not just within the art sector, but outside as well.
• It was noted that it is essential that the participatory artists must maintain a positive relationship of trust with funders, where the focus is not just on producing an exhibition or performance at the end, but on working together on something and allowing beautiful things to emerge and intense learning to happen.

Several points were also noted about developing an advocacy plan for the participatory arts sector that could be offered and developed on behalf of ArtWorks Alliance members:

• It was noted that ArtWorks Alliance has an advocacy group, which includes members from Scotland and Wales. The differences in focus among these regions was noted, with England focusing on wellbeing, Scotland on placemaking and community-based work, and Wales on the wellbeing of future generations.
• It was felt by contributors that there is a need to articulate alliance members’ work in a way that resonates with different regions and themes. It was mentioned that there may be an opportunity to engage with the Arts Council and that we should think about what issues matter to them and fit with their priorities.
• It was suggested that anyone who might be interested in renewing the advocacy group, to define the messages that emerged from the alliance, could meet to decide what would be a priority and what might be a clear set of asks and demands.

Sue Caudle, the facilitator of the discussion, concluded the gathering with the following take-away points:

• Sue emphasised the importance of having the confidence to own the work that members of the ArtWorks Alliance do, rather than trying to fit into the funders’ original funding applications. Sue noted that even if we only worked with two people, the depth of those experiences is significant and should be recognised.
• Sue encouraged participants to review the tips and ideas shared in the chat during the gathering, as they contained valuable insights, and she asked participants to reflect on something that would be taken away from the session, which could be an idea that emerged, a conversation that had taken place, or even a frustration.
• Sue asked for feedback to help shape future gatherings, and she thanked everyone for the depth of sharing and conversation that took place during the gathering. She noted that it demonstrated the strength of the sector, the people involved in it, and the work that’s happening.