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
I've been scrabbling along my shelves looking for my copy of Kahlil Gibran's The Prophet because there were thoughts crystallizing about work and about the way I lost my public-sector job this summer due to ill-health.
I've been having one of those weeks where everything seems to be trying to tell me something. You know, when a TV programme, or magazine article and even something you're reading in the latest Terry Pratchett (I learn a great deal from Tezzer) all seem to carry the same message, all on the same theme.
This time it's about work and, of course, my cross-artform piece, Severance. When I first started writing it, the monologues were very personal statements. Completely non-political, thoroughly self-involved. I thought, if they had broader meaning, it was in the context of cuts and austerity in general.
This week, the sub-conscious has finally broken through and I realise they are all specifically work-related. What happens when you are trapped and unhappy at work? What happens when you're thrown out of work? How does it feel when your work seems to have no value? Why have we all become so thoroughly accepting of these things as the norm?
That's what brought me to Gibran. I knew I'd read something in the past that had spoken to me about the value of work. And there it was - Work is love made visible. If we value the sweat of our brows and if we can see our work as valuable then it is the very expression of love for ourselves and for our world. It's a deep, deep need. Forged of course through countless millennia of prehistory when the product of our work, of our love, was clear.
I'm thinking of the obvious examples of the collaborative effort required to erect stone circles and rows. I'm also sure, though, that the divisions between art, spirituality and subsistence are modern ones and that we've lost a great deal by thinking in that segregated way.
For instance, where has the loss of spirituality in modern farming practice led us? Why is there so little room for art and expression in the ordinary working person's life? Where is the beauty in the design of practical, everyday things? This is all very Arts and Crafts, I know, and I throw the appropriate nod to William Morris and his “Lesser Arts”. But, right now, in the loss of my identity as a working person, I'm feeling these things keenly.
I feel disconnected from the flow of the world, that I have love, meaning and expression to share but it has been sharply truncated – severed. The loss of income is hurting me, yes, but much worse is my separation from the world. My work was my love made visible and now I have to hope that my writing can find another way.
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 :)