European Culture Forum

Michael speaking at the Forum in Milan

I was delighted - and amazed - to be invited to the European Culture Forum in Milan as one of the platform speakers.  It's not just that Britain is a bit semi-detached from the EU at the moment - it's also that speaking at this event is normally the preserve of EU Presidents and Nobel Prize-winners...  Still - the invitation came and it would have been churlish to turn it down.  What a fantastic opportunity and privilege!

The first day of the forum was very upbeat.  Much of it was around the European Year of Cultural Heritage, which was kicked off at the event, and this clearly gave a lot of people much cause for celebration.  It is, of course, wonderful that Europe is going to be putting so much energy into cultural heritage in 2018 - though I would love to know what this is going to mean in practice, and how far "heritage" embraces the complex morality of our continent's past.  If it does, then perhaps there's space to take in the migrant crisis, the role of Islam, the inheritance of colonialism. There's a danger it could all turn into a festival of "aren't we marvellous?"  Towards the end of the first day, Ferdinand Richard from the Roberto Cimetta Fund sounded an appropriate warning note when he said that culture was in danger of being hi-jacked by nationalism.  This is the Europe we are actually living in, and Britain's current tragedy reflects that.  It seemed important to address this on day 2.

So - the plenary of which I was a part is available to watch here - it actually begins at 8hrs 18mins in, and lasts a healthy two hours, so if you can't stand the thought of that, here's a basic summary.  The Moderator, Hannah Conway, very kindly gave me the first word - so I was able to set a bit of a tone for the debate.  I was asked about the role of culture in promoting social cohesion - and my response was that the two things are essentially the same.  We shouldn't be taking an instrumental view of culture, calling it a "tool" or something to be "exploited" or "used".  Culture, I ventured to suggest, is the public generation of meaning - and so it's the base from which a healthy society can grow.  You don't know why you are doing anything else if you don't have meaning - so of course in order to have any form of social cohesion, you have to have culture.  What's more, for that cohesion to be sustainable, the culture has to be dynamic and fluid - this is where it begins to overlap with democracy.

The question of inclusivity had to be addressed - I think a lot of people were very pleased that I called out the Forum for the all-white panels.  The question of culture within policy matters - I used the example of our refugee work in Plymouth, but also called for something bigger, for a real engagement of art and culture in the political process, on the lines of Periclean Athens.  Of course that was described as hopelessly Utopian - but the truth is that "realism" hasn't done too well recently. The current situation - Trump, Brexit, Putin - is a list of things many people said "could never happen".  And then they did. I think that might be true of the Utopian alliance between culture and policy as well.

Dare to be Different

It's been an amazing few weeks here, with our Participation and Learning programmes going into overdrive as the educational year heads towards its close.  Joel and Gabrielle have been working very closely with the London Māori community to complete the Oral Histories component of our Heritage Project - and the website has now been launched!  Click here.  Once you're on the site, you need to register if you want to access the fascinating archive of interviews, which are there in both written and audio form, dealing with migration, Polynesian life in London, ceremony, lifestyle and change.  There's also a great video about the project, which shows people from the community discussing why this work matters to them, and young people from Malorees School who have been working with the London Māori.  And, the process, they all got their arts awards!

Meanwhile, down in Plymouth, I've been working with a group of young refugees and asylum seekers, known as Dare to be Different, who came to the city as a dispersal centre, and who come from places as diverse as Afghanistan, Sudan, Pakistan, Iraq, Angola, Russia, Congo, Sierra Leone, Zambia and Zimbabwe - and probably a few more besides.  Two months of workshops have explored their creativity, and have drawn off their experiences, their hopes and their dreams.  It's been a fascinating and inspiring journey - and it's culminated in a performance called Division which they've presented at the Drum Theatre.

What's very salutary about this group is the complex and fluid nature of the identities they are exploring.  In some ways, they are defined by their past and by their refugee status: they have fled from persecution, and many of them have lived through far more in their early years than most people do in a lifetime.  We had one very powerful session based around the participants sharing personal stories about how their lives had changed - and many of them were astounded by what others had lived through.  And so was I.  On the other hand, they feel an intense need to move beyond that restricted identity, and to create a new way of living in the new space they have come to.  They are young people, with much to give and much to expect; so they cannot and must not be defined solely by a past over which they had no control.  Division was a terrific piece of theatre, because it was able to include a sense of what had been left behind, or perhaps absorbed - but also a sense of the lightness, the comedy present in young lives, and the aspirations and challenges of living in a new space.  

What's more, they were wonderfully eloquent about all this when we had a post-show discussion, and that discussion involved not only theatre people and friends, but also public figures like the police, the racial equality council and other public agencies.  In fact, this work became a study in how theatre can become an attribute of participatory democracy.  Something we are sorely lacking in our society right now. 

Plymouth

Just got back from a very interesting couple of days at the Theatre Royal in Plymouth. Faith Collingwood, who works in the Creative Learning department there, has been talking to us for some time about the possibility of collaborating on their Dare to be Different project for young refugees and asylum seekers. Since Plymouth became a dispersal centre in 2002, there's been a huge influx of displaced people into the city, and a lot of tensions as a result. On Tuesday night, I was able to watch the group in action. They're mainly from Africa, mostly in their teens, and full of energy. There's inevitably a certain insecurity around culture and language, but also (very pleasingly) a security and indeed a pride about who they are, about cultural identity. It was almost like being back in Botswana at times. But much colder.

This morning I met with Faith and her colleagues to talk through ways in which we can collaborate around May and June - so there might be quite a few Plymouth trips coming up. Then whizzed across town to the main theatre for a meeting with David Prescott, who programmes the Drum and is very interested in Consumed. So interested that he gave me some very good ideas on its artistic development, actually!