A Note:
These words are a remembering, a
revisiting of words found for symposiums and papers in the past for this
widening field, as well as some new ones found for here and now.
They include words from: Begin With What You Know 2011; In Dialogue for Candoco 2015; Below The Water Line written with
Caroline Bowditch for Reflect, Restock,
Re-think: Live Art and Disability 2011;
What’s Not Lost? for the Invisible
Difference project 2015; Some
Gathered Musings for Get Better Soon?
from Dan Daw and Kate Marsh 2015; and recent writing Speak: Differences with Claire Cunningham and Jess Curtis 2016.
As we look to the future, to what’s
next. Let’s not forget where we’ve come from, what work has been done and by
whom. The ground that we move from and those who cared enough to tend to it.
A driech day at my
desk, to the left from my window, slate tiles shine as I wait for some words to
come. To the right on my fridge, a magnet with words from John Cage. Begin Anywhere.
I find that liberating
and sometimes daunting. So, when I’m making I often say ‘Begin with what you know’.
What do I know?
Words. I work with
words in a particular way. For me language is physical. I
understand it as of the body. I work with words and
movement, words as movements. Words can bring things into being with greater
clarity. And
dances, can say so much when words fail. The poetry of the body.
Words are a
way of asking questions and making invitations. I think of a question as an
opening, a space of possibility. And an invitation as a gesture. So these words are to ask
some questions: Where have we come from? Where are we now? Where might we go? What’s
next? Who’s next? How? What, if, we were all agents of change? These words are
an open invitation to imagine other possibilities, to imagine those we don’t
yet know and they are an invitation to act.
What else do I
know? I am an artist. I am a maker and curator.
I am a body with a
body of work. My work is to listen, to touch, to transform, to care. What I do
is relational. I have a whole series of relationships, collaborations,
connections, encounters, lived experience to reflect upon, to draw from and to
question. We all do, we all have some wisdoms for living to share.
I am an artist. I
am a quiet activist. I don’t want to ‘get better soon’, my difference, my
deviation, ditherings and disruptions, my ‘deficit’, my dances are
amplifications of empathy, (little) political acts of love.
Together, we are a gathering of differing cultures, contexts, and
sensibilities. Not just in terms of a disability politics or a dance history
and the particular lineages of those movements and artists in our countries,
our communities, but the lineages of differing cultural politics, people
politics, aesthetic sensibilities, ethical practices, economies and ecologies.
All of our very different lived experiences and realities intersect, they
come from the margins and from the mainstream, and they can collaborate, they
can wrestle, listen, laugh, touch, and dance together to make something greater
than the sum of their parts. But this is only possible by being open to
difference, to really being open to difference, by not disappearing difference.
In preparing these words I reflected on what I’ve witnessed, what I’ve experienced
in the past 5 years. And I
have been reminded of what some call loss…. of my nana, of my partner, of
friends and lovers, of peers, of politics, of places, faces, visions and values.
And in remembering I have been reminded of their influences, how they changed
me, how they transformed my reality and what I thought was possible
Influence at this
time seems to be an important thing to consider, as across the arts and these
islands we come to know our landscapes and communities in other ways. Over the
next five years we may see the support and the influences we have grown with or
indeed nurtured, transform and disappear.
This is a pertinent time for reflection, while we grapple with change.
In 2011 I gave a
paper Begin with what you know… whilst
working for the now mainstream dance company Candoco, in it I said…
“our work is very much about influence and preparation – about who is being prepared for what and about influencing the mainstream. Mainstream understandings of disability differ depending on context. In Film – Television – Sport – Theatre - Dance We might challenge and question some of these
representations or misrepresentations but I think it’s important to acknowledge
they are where many people are at – people make meaning from the information
available to them, the preparations they are afforded. To make change we need to begin there.
Begin with what they know”
I went on to say:
“… it feels that there is a
sea change upon us. Not just for the
company, but for a sector often described as dance and disability. Disability arts and contemporary dance in the
UK are now maturing art forms/movements. For 2012 Unlimited
will make a significant investment in the work of some disabled artists. New work to be seen by new audiences and
hopefully many, young disabled people and emergent artists. A significant body of work has been
produced. An expertise that can be
distilled, shared, offered up to inform, advise, signpost – to support emerging
generations in choosing where to start – as well as being an excellent pool for
those maturing artists to reflect on, draw from, move on from.”
In the same year, when Caroline Bowditch was Dance Agent for Change at Scottish Dance Theatre and I was still
working as Head of Learning and Research with Candoco we gave a provocation Below the Waterline in response to a
series of reviews in newspapers at the Live Art Development Agency event Restock, Reflect, Rethink 2: Live Art and
Disability.
This was the first time that I had been part of what seemed to be a
genuine convergence between peers and colleagues practicing in live/performance
art, disability arts, contemporary dance and choreography in a proactive and
provocative way. The symposium spoke not only to physical diversity, but to a
spectrum of diverse aesthetics, ideologies and embodied experiences.
In our paper we
noted at that time, in that year, Candoco was celebrating their 20th anniversary
and Scottish Dance Theatre their 25th. This year Candoco turns 25
and SDT 30. We explained:
“Although each company has historically been funded to
make and tour dance in the mainstream our roles had become either increasingly
concerned with or explicitly dedicated to exploring gaps in the sector broadly
described as dance and disability. In reviewing a number of dance critics write ups in
mainstream newspapers we have noted that in two decades a focus upon the
visibility of impairment, on any difference from normative corporeal ideas of a
typical dancer hadn’t really shifted. We
think it would be fair to say that these preoccupations with physical
difference are indicative of where understanding remains in the wider public
consciousness. As if it is only what is
seen that constitutes the totality of disability. Key to our discussion is acknowledging that
the visibility of any impairment does not directly correlate with an
individual’s experience of disability. Visual deviations from familiar structures are more
easily observed, alerting us to difference.
However, what many critiques don’t do is go beyond noting this to
address how alterity might enhance our art form. Nor do they draw from notions of disability
other than the medical model. Such as
disability being socially constructed, affirmative or anywhere between. This is
perhaps felt profoundly in contemporary dance in the UK an art form informed by
ideals of modernity and mobility that - for many - is inherently about
form. The few disabled artists emerging
frequently come to their practice later in life having carved out informal
pathways with little signposting, recognition or validation available in the
places their non-disabled peers might look. As Dance Agent
for Change - a title reminding us of the work to be done - Caroline has had
significant impact across the UK.
Increasing the visibility and understanding of gaps by listening
sensitively to disparate groups and empowering those who feel isolated and
marginalised. In 2012 SDT will host a
symposium Pathways to the Profession
addressing the issues that inhibit inclusion of disabled people in the
performing arts. Caroline is explicit
that as an artist she doesn’t want to make beige work, despite a feeling
amongst some in the dance and disability sector that it is this kind of homogeneity
that has most currency in mainstream touring. What is clear for us, as we imagine new contexts for
making and engaging with disability in dance are the merits of effecting change
in both visible and invisible ways. The
need to recognise, articulate and celebrate the complex nuances of these
artists work, the subtle corporeal and environmental demands that might
interrupt form, break binary understandings of disability and depolarise
practice. To go below the waterline.”
This was the year
before London Olympic and Paralympic games of 2012, which – I think - were a
significant catalyst in the increased visibility, understanding, resourcing and
‘mainstreaming’ of work by and with disabled artists. Here in Scotland we have benefitted from dedicated strategic initiatives
and funding streams to develop our work in this area including; The Dance Agent for Change, Promoting
Equalities Programme, Talent Hub, Creative Thinking Network and Unlimited.
As a result we have rich, vibrant examples of excellent work in this area, but
in numerous conversations of late we’ve noted that we’re all beginning to ask
questions about what’s next, who’s next, how?
Where are we now? Five years on discourse and action in this territory
in the UK has focussed upon addressing deficits, inequalities and invisible
differences. Whilst this work is
critical and needs to continue, I believe we’ve only just begun to consider and
really value the independent artists, cultural activists working throughout the
world, who through their art making offer possibilities for considering what’s not been lost - despite the
exclusion of different bodies and ways of being in the world - from dance. Attending
to why equality – I believe - shouldn’t be about assimilation into what already
exists, how we might re-imagine notions of loss and the importance of artist as
agent for new aesthetics and politics in the 21st century.
We have begun to see a proliferation of permutations rather than
assimilation into what has gone before. Artists such as Kate Marsh and
Welly O’Brien, Caroline Bowditch, Claire Cunningham, Dan Daw and Catherine Long
have drawn upon their unique lived experiences, the particularity of their non-normative
movement patterns, morphologies and sensorial differences to further expand
understandings of who can dance, what dance and the choreographic can be, what
it might, look, feel, sound like and what other kinds of spaces and structures
this work might manifest in, as well as the ‘mainstage’ repertory companies
Since 2012 Scotland based artists from
this territory working both in the margins and the mainstream have presented work
at Unlimited Festival London, Edinburgh Fringe, Buzzcut, at Tramway as part of
Dance International Glasgow, Gathered Together and now Unlimited Glasgow, they
have local, national and international significance and influence
Caroline Bowditch, Ian Johnston
Independance 4, Janice Parker, Y Dance’s Project Y, Dirty Feet, Marc Brew with
Scottish Ballet and Independence 4, Craig Simpson, Talent Hub, Waterbaby, Jodi
Taylor, Jak Soroka, Adam Sloan, Neil Price, George Adams, Jade Adamson, Alex McCabe,
Gail Sneddon, Hayley Earlam, Linda Payne, Robbie Synge, Christine Devaney, Kim
Simpson.
We have such a brilliant spectrum of practice, from
people who call Scotland home. As a community of artists, arts organizations
and advocates we are increasingly being referred to as leaders in this field
worldwide. Many of the leading disabled dancers and choreographers are based in
Scotland, a number of disability focused organisations are now part of the CS
Regularly Funded portfolio and our dance artists, companies, dance centers and
festivals have said they are committed to championing this work and its
significance as part of an evolving art form and diverse dance ecology.
What
Next? Many of our artists and advocates are at capacity and
whilst we can cite numerous examples of established artists and experts
working in both the margins and mainstream, we wonder where the next generation
will come from and what else needs to happen to ensure we can continue to
nurture this growth in Scotland.
As a result of our conversations, a consortium of artists
and organizations have been trying to come together to review where we are at
as a community, re-fresh our thinking and practice and ask what we - as a
community - want and need to happen next.
In Spring YDance, SDT, Festival Theatre Edinburgh, Tim Nunn, Dance Base,
Indepen-dance, Scottish Ballet, Waterbaby, Janice, Claire, Caroline, Robert
Softley Gale, Kim and I arranged a meeting. Of the 14 folk who had hoped to
make it for the two days only a handful could turn up.
We had hoped it would be an opportunity to come
together and update one another on what we are up to, what’s working and where
the gaps might be, to review where we are at as a community, to consolidate and
distill our work into propositions for action going forward and invite some
guest artists to offer other perspectives that would enhance our thinking and
practice. We wanted to share the results at Indepen-Dance’s, Gathered Together and Unlimited, Glasgow.
Katie Miller a recent dance graduate was one of the
handful of folk who could turn up, told us that there are so many people who
want to be part of this work but they don’t know how to get in.
And so this is a very simple open invitation. We began
to draft an application. But I’m not sure. I am not sure about another working
group or another consortium, another layer of administration absorbing resources
that should go to artists to make art.
But we don’t want these artists or others to disappear.
We don’t want to lose that space of possibility, this spectrum of practice.
There are questions of capacity. And there are
questions of priorities. Of transparency and permeability. It’s not one persons
or organization’s responsibility. No one is an island. It is about all of us. About
the what’s in between. The continued development and support of people and
practices that enrich and evolve our art form. Our realities and the realities
of those we don’t yet know.
This is an open invitation for action,
to gather together.
What if we all acted as agents for change?
Luke Pell will also be part of the What Is Unlimited conversations on Evolution and What Next? on Sunday 18 September at 5pm at Tramway. He will also be co-facilitating Day 2 of the What Next? symposium at Tramway on 22 September.
