Guidance for Associate Artists
As I sat down to write some guidance for artists, to explain something of the concepts that underpin the Squilometres venture, I realised it all came down to a statement of intent. Squilometres is intended to potentiate social change. Not to dictate the nature of that change but to animate a community to a state whereby positive change can happen.
And it felt good to get that out because then the guidance became clear. I even have a text, my “bible” if you like. Lewis Hyde’s The Gift - How the Creative Spirit Transforms the World (2012 Canongate) has profoundly influenced the development of the Squilometre concept.
So there we have it, Squilometres has a statement of intent - and at this point “I” becomes “we”, because I cannot do it alone. We aspire to potentiate social transformation. And we want to do this by developing relationships of all kinds. Particularly with artists, both individuals and small companies. So, it is time to be explicit in our intent and to provide some guidelines for current and prospective associate artists. The best way to do that is to return to our original Four Cornerstones of Community Commissioned Performance, and to explain them in Lewis’ terms:-
1) Be Authentic - know your art and bow into service to it
Your creativity is a gift. It’s important to know it, acknowledge it, clear the decks to “identify with the spirit of the gift, not with its particular embodiments …” (Hyde, 2012: 151). And your Gift may not have a name. In our society creativity is sidelined, compartmentalised and commodified. It took me three years to discover that my creative label is Animateur - “a practising artist, in any art form, who uses her / his skills, talents and personality to enable others to compose, design, devise, create perform or engage with works of art of any kind”. I couldn’t find the label because there are no jobs but the fact is, it is what I am. It is my Gift and having discovered it, I feel the real work can begin.
So take time to know your true nature as an artist
and when you join us, bring your authentic, creative self.
2 ) Be Mindful of the Earth - enhance, not deplete, the world around you
Hyde refers to the artist as an “enthusiast”. When one is a creative “enthusiast” in your relationship with the real, physical and spiritual world it is an act of reconnection, or, as Hyde calls it, reunion. “When the poet is in the gifted state, the world seems generous ….”, so, with Squilometres, when we celebrate places, in reunion, we’re offered a wonderful opportunity to be mindfully creative.
Instead of stage lighting, watch the skies and seasons to see what effects they offer; instead of constructed props, consider the trees, fallen leaves, forage the hedgerows. The very places that we celebrate are the canvas, the set and the subject. The people who dwell there are our community. We encourage artists to create beautiful, unique things from what the earth provides. There is a profound link between the arts and environment. Artists have the gift and privilege to reconnect the broken.
“Natural objects - living things in particular - are like a language we only faintly remember. It is as if creation had been dismembered sometime in the past and all things are limbs we have lost that will make us whole if only we can recall them.” (Hyde, 2012:177).
As a Squilometre artist, be ready to be an agent of reunion.
3) Gift It - Find a beautiful use for money
Being paid for your art is both a political and spiritual act. It’s important.
We are not advocates of artists working for free
However, we do believe that there is a better use for money than commercial transaction. Hyde explains that when a gift is freely given, the increase in its worth stays with the ‘object’ and increases as it is passed along. Gift bestowal can create an “empty space into which new energy may flow” (Hyde 2012:148). As it works its way around a community, it grows and grows, building relationships and enabling change. In contrast when a service is exchanged for an agreed price, the transaction nullifies the relationship and any further emotional connection. We believe that is harsh, jarring world in which to create art.
So we will not charge our audience a fixed price up front but will ask them to pay-it-forward for the next show, after they’ve seen the performance. And it will be some while before we can guarantee a fixed rate for artists. So, in the meantime, we’ll keep our productions and our casts small, minimising the individual commitment. And,
we will welcome you into a community in which gift flows
There will be remuneration in cash. There will also be unlooked for returns, taking many forms. If you’ll dwell for a while within our community, rather than closing the transaction down after the performance, then we believe you will be amazed at what an increase in worth means.
4) Connect - love and cherish all
This seems like a big ask but, in fact, becomes much simpler when seen in terms of community. Any performance happens at the centre of a community - all of the individuals that have contributed, in any way, to the happening. Whilst, holding the broader aim of loving all in your heart, the people of your community should be the focus of your attention and care. Be particularly grateful for those who arrive with fixed views, ulterior motives or challenged minds. They present the best opportunities for growth and change and “where we stumble, often treasure lies” (Bayo Akomolafe).
It is particularly important to identify your community and by that we mean know them as people, not contact details. Know their views and interests so that you can facilitate the passing on of the gift. For gift to grow in worth and potentiate change it must be passed on and those in receipt of the gift must be in a position to do so. The mechanisms for this need to be clear.
This is why we operate within one square kilometre (Squilometre) of landscape
So that the members of that community can see for themselves the benefits of passing the gift between them.
As an Associate Artist you are invited to join that community too
It’s a driving question and it’s about more than just subsistence because it also tends to be the way we judge the success of our art. One of the first questions you’ll get asked by another artist is “do you do this full-time”? So few of us achieve that heady goal that its very scarcity makes it all the more desirable. But it is a very divisive tendency and one to be avoided. It just generates envy and discord amongst artists, whose natural tendency otherwise would be to collaborate and co-create.
It is also, I’d like to demonstrate, a very old school way of looking at things. The economics of scarcity is well recognised and deeply embedded in our thinking. Apparently, we will all pay more for something that is rare. But economics is not a pre-scriptive tool. Things don’t have to be that way. It is a de-scriptive tool. It simply tells us that most people, in most circumstances, will behave in that way.
So, it is extremely interesting to note that there are many voices now; many artists, environmentalists, theorists, in fact people in all walks of life, who are succeeding in persuading people to behave differently! It is aided by, but not exclusive to, the internet and social media. It is strongly linked to the revulsion that many feel about how we exploit and despoil our planet and comes from the camp of holistic ecology and environmental responsibility.
It has been coined by Charles Eisenstein, as Sacred Economics but in fact many of its characteristics were laid out as a kind of manifesto for artists as early as 1979 by Lewis Hyde (The Gift).
Hyde argues strongly that to exchange or barter something for a fixed price is to “kill” the cultural, artistic and spiritual value of the “thing”. It is cancelled out, removed from universe, from the common good. Whereas, when something is given freely, each transaction will increase its worth, value and benefit. And it will continue to increase as long as the gift keeps moving. Both Eisenstein and Hyde therefore argue strongly in favour of Gift – giving your services away.
But how can this work?!! How does this make the artist’s subsistence any more tenable? Now, I’m aware that, being a recent convert to these ideas I’m behaving like an AA “two-stepper”. I’m all excited about the revelation and now want to go and tell others all about it, before I’ve done the hard work and all the steps in between. I haven’t proved it can work yet. But I’m also aware that many people are making it work and I’m conscious of wanting to emulate some of the openness and vulnerability of Amanda Palmer, one of the most successful proponents of this approach.
Amanda, a musician, is famous for having cut out the middle man and for her profound and direct connection with her audience through social media and crowd-finding. That is, if she has one, her business model. She just asks her fans for their help.
So, I’m sharing my thought process with you, just like Amanda does. I want to keep the conversation open as I continue to research, explore, discuss and trial how this might be.
Here are some of the things that I think are important to developing a Gift approach and a Sacred Economy, particularly in theatre and the performing arts:-
1) I think it is ‘sacred’ and important to give your work away but to ask people, in an easy, fun way to return the gift if they can/want to. This means extending your performance into Q & A or some other activity that includes the audience. It means not sending them away at the end of the show but, rather, finding some way to celebrate their participation and facilitate their gift. Afterall, if your performance is a gift then their return gift should be part of the performance.
2) I think it also means finding new and interesting ways of Asking. Sometimes things will have to be funded up front or you simply won’t be able to move forward. Amanda Palmer famously raised over million dollars through KickStarter crowd-funding for a planned tour. The successful norm is for much smaller amounts though and often projects fail to meet their mark all together. The difference that Amanda makes is her direct and profound connection with her audience. She gives herself up to them entirely, that connection and communication is part of her art.
3) It means changing your view of what success is. Like many artists, I’m interested only in making enough to continue being creative. Profit and excess have very little meaning for me. But as I’ve mentioned many will measure your success as an artist by your income. It’s hard not to feel pressured by this. I find that the concept of “Right Livelihood” helps. This means finding a livelihood that DOES NO HARM. It allows you to be the artist you need to be but also requires that you make enough return not to do yourself or your loved ones any harm – in other words, to gain a reasonable and responsible income. Striving for a Right Livelihood feels like a worthy and achievable goal.
4) It means being aware of your own Gift. It’s no mistake that artistic talent is referred to as a Gift. We are all familiar with those moments when we’ve created something that seems to come through us, rather than from us. In order to successfully share your Gift and ask others to help you support it, you have to know it, explore it, develop it and bow into its service. This means not changing or corrupting it to someone else’s vision. James Stenhouse tackles some of this in his excellent blog How to make a living as an artist where he exhorts us to never “… let ANYONE tell you what kind of work you should be making. EVER”.
5) Finally, I think it requires a community; a minimum number of individuals who understand and value the concept of Gift enough to keep it moving, to return it and gift-it-forward so that we can all then know that we are part of the whole. The greater that community is, the more successful the approach will be. I may be wrong in this. I’d be interested to know what you think.
That seems like a great place to end. But I’d love to keep the conversation open. Please leave your thoughts and comments and I will endeavour to answer each of them.
Eisenstein, Charles 2011 Sacred Economics. Money, Gift & Society in the Age of Transition. Evolver, Berkeley, USA.
Hyde, Lewis 2012 The Gift. How the Creative Spirit Transforms the World. Canongate, Edinburgh, Scotland.
Musicians, painters, actors, directors, performers of all kinds; there are more of us than there are regular, paid jobs. This is a fact, so how can we survive and make art that we can be proud of at the same time?
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JoJo Spinks is a Westcountry writer deeply in love with her landscape and her life!
"Thank you very much for joining me here. Please read on to explore more about Working in the Gift and my joint passions of participatory arts and the Devonian landscape." JoJo :)