Christeene @ Latitude 2016

What is Christeene?

Formerly a ‘machine’, variously a ‘queer art terrorist’ or ‘messiah of the dispossessed, now returning, via Soho Theatre’s sponsorship, with harder, tighter grooves and better dance routines. American queer hip-hip, filtered through punk and outrage and the taint of drag.

What is the impact?

Room reduced to half-full within first song upon appearance of Christeene and two dancers. Those who ‘should not’ be there quickly left. Those who remain, remain. Devotional and, as Christeene points out: the moment of liveness, being together (notional: temporary autonomous community), the rejection of the mediation of the machine (as this speech is made, camera phones are bought out).

What is Queer (reference to specific event/character context)?

American queer not identical to British tradition (possibly defined by films of Jarman, in short/simple slogan). Associations: Peaches, Revolting Cocks – artists marked by ironic appropriation of excess. The judgement of society by its own measures, only this time from the perspective of the judged excluded. Example: song that mocks outward forms of masculine display (and introductory speech) in heteronormative modes. Appropriation of dominant culture (hip hop, electronic dance music) towards subversive ends. Rejection of heteronormativity and possibly gendered identity.

Is this more than a gig?

Rock music (et c) has relied on ideas of authenticity. Christeene is a created character, self-conscious and yet promoting (shades of the preacher) a libidinal revolution. Emphasis on this moment now, this feeling now (generic rock etc tropes). Yet also: backing tracks, monologues (Bruce Springsteen had he grown up in the backwoods and queer). Production values betray irony, content does not.

Immediate Impact?

Positive.

Take That, Politicians

It's happening tomorrow, but it's another example of the Glasgow Film Festival is eclectic and inclusive. The world premiere of We Are Northern Lights is the culmination of the first ever crowd-sourced, mass participation film project in Scotland. 

Creative director, Dr Nick Higgins made a call out for people to film their perspective on Scotland, and send them to him for inclusion in the film. He got back 1500 submissions. and 300 hours of footage. Perhaps in the subsequent five months of editing, Higgins pondered the wisdom of his project, and possibly cursed Still Game’s Sanjeev Kohli for explaining how to make and submit their short piece. 

The result, however, was worth the effort. The Scottish Government Culture Secretary, Fiona Hyslop, is excited (To me, it has set a standard for cultural projects - it's reached out to our diverse communities and inspired them to think about how they can use culture and creativity - not only to promote their local identity but to enhance community engagement," she said) and Higgins observes that "Whilst individually the videos might not be considered of national importance, collectively they combine to create something truly original and inspiring. It’s an image of a new Scotland that might surprise some people."

They would say that, though. The film might be the least interesting part of the project: as with all community orientated productions, it isn't the final product that matters that the process, and the traces it leaves behind for the participants. In this case, two earlier models of crowd sourced material replacing the work of professionals are instructive.

One is the behaviour of the news media towards content created by "eye-witnesses." The almost relentless adaptation of footage from cameras, bloggers' content and amateur reporters that has turned up on Sky News has seen massive cost savings and the manipulation of public enthusiasm by a multinational corporation. It has led to lower quality news and culture reporting (why employ an expensive camera crew when this guy is giving it away?). And it has done nothing to empower the communities who now provide a news source.

Then there is the more empowering activities of organisations like Toonspeak, who train communities to make work, enjoy being part of a production and work steadily, over time, within excluded areas. Higgins project might have made a few people realise that they have the kit and confidence to make their own films.

This is a little more important that Hislop's statement that "I am sure that everyone involved is very proud." In fact, it works against the existing power structures that provide her with her title, by allowing communities to make their own art. 

 

 

A trailer can be viewed here: http://wearenorthernlights.com/we-are-northern-lights-teaser/

 

 

 

 

Theatre Nemo Newsflash

If there is a tension behind the practice of criticism, it is the nagging doubt that the work being considered is not always the most important strand of the arts. Since New Labour recognised the social function of the arts, there has been an emphasis on its ability to transform communities: the proliferation of community events supported by The National Theatre of Scotland reflects a broader trend towards work that has a clear social objective.

Nevertheless, criticism is operating under the same assumptions as the original Arts Council which, in the aftermath of World War II, considered high art as the most effective way to civilise a nation. The Edinburgh Festival was set up to connect nations through the spectacle of the performance and low arts, which include amateur dramatics and outreach projects, was relegated to social work. Unfortunately, this trickle-down theory is not verifiable. Fascists sing love songs, too, claim The Creative Martyrs. They are also partial to a spot of opera. 

So, that mind-scrambling version of The Maids may not have the sort of social function that a project by Toonspeak has. If the arts are measured by their social worth, the reviews are covering useless ornamentation. 

Fortunately, there are plenty of companies willing to do the hard stuff. Theatre Nemo, based out of the Briggait and with a sweet rehearsal space next door, have a clear mission - to support mental health. And they've been invited up to the House of Lords to receive the Robin Corbett Award from the Prison Reform Trust. 

The Robin Corbett Award is for "outstanding rehabilitative work with prisoners." I have heard it argued, mainly in that book by Carey, that it is this work that matters most in the arts, that has the most powerful social impact. That story about a guy who had sex with his mother is all well and good, but it doesn't encourage people to address their problems.

Thinking about it, the idea that watching art makes a better person would make me the best person in the world. I am glad to be evidence that Theatre Nemo need to be supported. Not content with the award, they are hitting Barlinnie with a major project. 

In conjunction with the local Riddrie community, they are asking "What is the origin of Barlinnie, the largest prison in Scotland?" Going back to its foundation over a century ago, they are looking at the social issues of the past, the sort of things that got people the jail back in the day, and how it treated them when they were sent down. 

Theatre Nemo are pretty tight with the Bar L. They have a brick from the execution room - one of only three left after it was demolished. Barlinnie kept one, and gave the third to HRH Princess Anne. I guess if any group can develop this social history, Theatre Nemo can.

Here's their appeal:

This is a year long project culminating in a performance and a documentary or short film. The working process will include visual art, story development using valuable and interesting information from the research gathered, leading to the dramatisation of a final story.

We envisage this project being a successful, memorable and historic time- piece full of fascinating previously unknown accounts of Barlinnie life then and now that can be accessable and shared with the public.


We need your help in gathering information, photographs, news-paper clippings, experience or stories whether from 10 years ago, 50 years ago or even 130 ears ago, we'd love to hear them!

Please contact us on this email we've specifically set up for this project:
barlinniehistory@theatrenemo.org
Thank you for your help on this!

Creative Scotland Community Arts Award (part 3)

It's important to note that Creative Scotland's awards includes a category for Community Arts. This is a far from uncontested area - author Mark Ravenhill had a brief swipe at the emphasis on outreach over art - and frequently disappears beneath the cultural radar, due to its smaller scale and different set of outcomes: the emphasis on the journey of the participants rather than the quality of a final performance makes critical interpretation difficult.

Funding community arts is a later addition to the portfolio of organisations like The Arts Council: it is often characterised as a feature of New Labour's 'instrumentalism', which stresses the need for art to have a social impact. When the UK first systematised funding after World War II, the emphasis was on supporting the "high arts" - ballet, opera et al - in the hope of broadening access and encouraging excellence. Once New Labour accepted Thatcherite ideals, it linked funding to the potential for social change and inclusion. 

In the past decade, there has been an explosion in the number of arts organisations that are interested in community building, and the actual arts are used as a way develop new interest groups, encourage personal development and possibly expand audiences. Whatever the political implications, it is tough to critically assess these projects in the same way as the latest script from Mark Ravenhill, so the activity of these groups can be marginalised.

In short, it is encouraging that Community Arts are being recognised in these awards. The three candidates are a snapshot of the diversity of issues that community arts address, although it is far from definitive.

Elderflowers – Run by health charity Hearts and Minds, this project used performing arts to overcome issues faced by elderly people with dementia.


Nothing About Us Without Us Is For Us – The brainchild of artists TS Beall and Matt Baker, the public art event used obsolete technology to hurl communications across the River Clyde in Govan. 

This was part of Glasgow International Art Festival, suggesting that even the high arts - GI is full of conceptual visual art - are including community projects. That's unsurprising in Glasgow, since the idea of Social Sculpture has been important for the past twenty years.


The Zombie Project – Gave kids from the Ferguslie Park area of Paisley the chance to write, direct and star in their own zombie film and comic project.