Wednesday, March 18, 2009

The final round up of my action research

Identifying the question:

Stoke-on-Trent is a city in flux. Billions of pounds are due to be spent in the city over the next 20 years, this feels (at least for now) like an emptying out, as whole streets are demolished; communities dispersed.

As an artist and resident of this place, at this time, it is impossible to ignore the process of change. It seeps into your consciousness, and eventually into your practice. I set out at the beginning of my action research to attempt to answer one question which seemed relevant and necessary. I wanted to know, from the people of the city: What does this city really need?

Examining precedence:

Over the last few years I have investigated and researched examples of artistic or cultural activity [operating within cities] in order to uncover the impact that art and culture might have on the regeneration of a city. At the beginning of my action research I broke these activities down into four types:

- Object impact (through a building or piece of work – the Guggenheim, Crosby Beach).

- Event impact (arts festivals or Biennials – Harlech, Berlin)

- Award Impact (Capital of Culture Status – Liverpool, Bilbao etc.)

- Project impact (Community collaboration projects – The Hidden Garden Project, Glasgow or In Certain Places, Preston.)

I noticed that the more successful and sustainable projects were those that worked with the communities and people surrounding them - perhaps through consultation processes which happen from the outset ensuring the activity is bespoke in nature; or otherwise through projects which the communities nearby take to heart later.

My aim was to open a dialogue with the people of Stoke-on-Trent, on what sort of initiatives, projects and activities they would like to see happening in the city, and perhaps even to identify an idea for a project which would demonstrate culturally lead regeneration.

How to answer a question:

In the early stages of the questioning process I created a postcard to give to the people of Stoke-on-Trent asking them to set out their ideas of what the city might need.

This lead to the development of various statements about what this city needs; my favourite being: This City Needs A Hero – I had 300 badges made to spread the word.

Falling down rabbit holes:

Towards the beginning of the programme I arranged to be interviewed by a fellow practitioner. The idea was that the interview could help to set out and explore my motives for engaging with the people of the city. Questions asked included:

- What is your mission?

- What are you keen to achieve?

- What would you like to convince the people of Stoke-on-Trent of?

The interesting thing about this long conversation was that it was meant to focus my intentions at the beginning of the project. What it actually did was petrify me into inaction. The process of examining my own motives and processes actually made me feel unsure, and sent me into a period of quiet reflection (aka artists block). In the long run this process of exploration, petrification and later action to unpick bad stitches has lead to an enlightenment about my own artistic process. I now see that my questions as an artist happen publicly. My motives, intentions and mission are not fixed, they shape my actions as much as my actions shape them. I have realised that this flexibility and ability to affect as well as be affected is important to me.

Getting back on track:

The good thing about rabbit holes is that some of them lead to Wonderland. Once I realised this, I was able to climb out in a new place. To understand what is needed it is often useful to understand what is already there, so I decided to become The Undercover Tourist, and go to the Tourist Information Centre to see what they would tell me to do in the city. I learnt a number of things from my espionage;

- This city has no tour guide.

- Tourists visiting the city generally miss out the city centre completely, preferring to visit the potteries factories which are scattered across the six towns.

- Each person in the city has a different idea of what should be celebrated and what ignored.

Why don’t we have a tour guide in Stoke-on-Trent?

Cities employ tour guides to talk about the wealth of heritage, culture and beauty of a place. I decided to become The Official Tour Guide for Stoke-on-Trent, but this tour guide would take the tourist to the sites of regeneration around the city, pointing out faults as well as beauty; offering up the city as a site for propositions - questioning, ‘Who is this for?’, ‘What do we do with this?’, ‘Why is this here?’ My tours show one artist’s response to a place in the hope that the participant may start to question in a similar way.

The emphasis of the tours was that we would talk about the city as a space for art and culture to exist, examining the gaps of a place, and instead of seeing gaping wounds, seeing creative spaces which can be filled.

The Tour

The tourists meet their guide in Cauldon Park, the neglected sister of Hanley Park, soon to be revived through the neighbouring college development. The tour guide leads the tourist towards the centre, from the South, crossing the brick desert which is the Tesco development site and up past the demolition zone, that was once a cinema, in the heart of the cultural quarter. We zigzag through the streets and then up to the multi story car park for the best 360° view of the city, back down past Stanley Matthews to the bus station, and site of the planned East/West precinct. We end up at the last community pub in the centre, unfortunately placed in the middle of the clearance zone.

Where could this lead?

The Regeneration Tours are a starting point and are something that I intend to develop further. In the early stages of development are ‘The 1986 Garden Festival Tour’ which examines the remnants of one of the last big cultural projects in the city, and ‘The City Car Park Tour’ which leads the tourists around the city’s single most popular use of its land.

The realisation that has come from this period of action research is the importance of the questioning process that I am engaged with in the city, and how this process necessarily involves other artists and citizens. To conclude, I set up an opportunity to discuss the questions raised and examined by the action research project with other practitioners. This necessitated the need to redefine what the question might be and lead me to understand that the original question ‘What does this city really need?’ is too broad and big. A forum meeting was held where this and other questions were raised, and the ensuing conversation demonstrated the need to investigate further.

And so I exit the action research in the same way that I entered, with a new question.

What is the artist’s role in the changing city?


To mark the end of my Longhouse Action Research project I wanted to explore some of the questions and concerns that had been raised over the 9 months of the project. I approached Bernard and Brian - fellow AirSpace artists and organisers of the Headtalk forum - a creative space for artists to meet and discuss issues and concerns which arise from contemporary practice. They agreed to allow me to present my findings, and open the dabate within the already established forum. The evening forum coincided with a visit from 5 Polish (cultural animation) practitioners, who ahd been participants in my regeneration tour (another output fo my action research project.) This was really great, as they were able to bring objectivity to the discussion. Bernard and Brian have documented the evening thoroughly on the Headtalk blog and have given me permission to duplicate it here. A very interesting and useful discussion was had, and the attendance was unprecidented; standing room only - which was really encouraging. Here is the Headtalk documentation of the event by Bernard Charnley and Brian Holdcroft, along with images by Glen Stoker.

"What is the Artist’s Role in the Changing City? Does the City Need a Hero?

The event took place in our new venue, Fat Cats, with a friendly and helpful staff who managed to squeeze all twenty plus into a lovely, warm upmarket snug; we will have a choice of a larger room next time so may take this up. This was the first occasion of a participating artist in the forums offering a presentation, and we hope it will be the start of many to come.

1. Extract from Blog entry

The presentation by Anna and the Polish artists gave a richly varied account of the problems and issues met by artists of any shade working in the public arena and this was built upon in the discussion with really informative contributions. The value was in getting a clearer picture of approaches we as artists or arts engaged can develop that address the issues of inclusive participation, coherent funding support, conflicting interests between marketing and community. On the back of this shared ground clearing, we think the momentum needs carrying forward with focus on our city of Stoke-on-Trent. In this respect, another HeadTalk forum might be around shaping some kind of manifesto (not the dogmatic kind) for arts and regeneration in the city, a bottom-up set of proposals around which artists and arts active people can begin to push in some unity for changes in policy and funding. This could go hand in hand with a strand of public art ‘events’, agit prop type that can be funny, participatory or media attractive to promote attention. Here our public space art/arts practitioners can maybe lead the way…our heroes!

All easier said… but recent history seems to show that gentle negotiations behind closed doors on its own doesn’t stir our leaders into any joined up thinking. Perhaps that level of exchange, important though it is, needs geeing up by taking the issues into the public space to get more focus on how artists and the arts can work inventively with regeneration and deserve proper support, in a way that brings the people of the city on board as well, not just the developers and their interests

2. Summary of meeting

We have drawn on the recording for this and it is hopefully a fairly accurate shortened transcript – took hours to do so we might look at some other way of reporting next time. Or maybe give ourselves more time to publish….. Anyways, we think there is a real value in being able to look back on what was discussed – tell us what you think!

A special feature of the occasion was the presence of a group of Polish artists, who work in the public arena in their country. Details of the group are appended to this report. Martin Webster, who runs an intercultural project at Staffs Uni, informed the forum at the end that the connection with Poland and these artists was ongoing and invited further engagement by local artists/arts people locally.

After an introduction by Brian Holdcroft, outlining the progress of HeadTalk and mentioning the HeadTalk blog for everyone’s reference, he introduced Anna as a first presenting artist and welcomed the Polish artist group.

Anna Francis then began her presentation by outlining the frame of her intro, which was to promote discussion of our responsibilities as artists in a time of great changes to the city. The experience drawn upon to elaborate some of the questions and issues was her research bursary from the Longhouse (West Bromwich) public arts funding firm, which Anna has used to look at arts funding and policy in Stoke-on-Trent. A range of questions were then introduced and with reference to a pre-circulated document ‘Interruptions’ by Malcolm Miles.

What does this city really need? With the background context of a regeneration policy by the council some ten years behind many other cities; a weak take up of existing levers like the ‘percent for art’ and a poor evaluation process resulting in fragmented approaches; all of this against an accepted understanding that arts are crucial for the regeneration of places and communities.

Referring to Miles, Anna then raised the issue of avoiding a ‘quick fix’, cheap social therapy role.

But then how does the city develop a cultural project that avoids these negatives?

Examples of different approaches were outlined with the Gardens Project in Glasgow and In Certain Places, Preston as good examples of coherent planning and involvement of the communities affected. The latter city is especially relevant as it is a post-industrial city like Stoke-on-Trent.

These examples lead to another question, whether the model that works in one city can be mapped onto another?

The introduction of these questions by Anna was followed by a more detailed presenting of her own work including a ‘tour’ of regeneration sites within the city with the Polish artist group leading to more specific questions about how artists in the city can begin to make things happen; “do we need to be more pushy” or “louder”. Another related consideration is how this all works for an artist when they go to a different city or community? This is the problem of being “parachuted in”, giving the example of the “Beyond Bricks” project being developed at present in Birmingham, raising the question of divided responsibilities between commissioners (and their agenda) and those towards the people living in the place where these art projects take place.

With this last point in mind, Anna handed over to David Sypntewski of the Polish artist group (pag) and then each member of the group described their role and work in the group, which is based in Warsaw. Details of the different activities can be seen on the web site addresses below. Their focus is on the non-tourist neglected communities of Warsaw, such as Praga, but also in smaller villages and towns and also in Crakow. Varied forms of engagement are used, employing the specialist skills of the group (theatre, photography and animation). These range from a physical alternative tourist map and tour, to a software game using the knowledge of the area from residents. This game caught on and became a popular activity (the game has an English translation and can be accessed from their site).

The aim is to give the more excluded populations of places a sense of ownership and positive identification, an issue that is relevant for public art in any location.

As Aga Pajaczkowska explained, the group describe themselves as ‘cultural animators’, an alternative description for artists and maybe a better term for artists/arts people working in the public arena. This very informative report was rounded off with a description of how the group encourage forums with other arts people, and towards educating local authorities in the support for culturally inclusive activity.

The forum then took a drinks break (we must have bought enough as we have been invited back and with a larger room if we need it J) and the YouTube video about the Preston project was shown with the techy help of Andy Branscombe from AirSpace.

On gathering again, David of pag related an experience in Hanley of being told he could not use his camera by security staff for prevention of terrorism reasons, a comment on the changing freedoms of the public space.

The discussion phase was then introduced with a question arising out of the different presentations and examples: who is the public of public art? “..Where does the dweller of the city come into this..”. this raised the subject of how the artist sees or defines the public they engage with?

The point was then made, with a graphic example from local practice, that we might think we know who the art is for and then discover that the people it is intended for (our conceived public) have a different response to what we might expect

“..we might think it is for them but they might not think it is for them..”

The suggestion was then made that it might be a question of educating people in the city to recognise that public art is for them, “..maybe it is about empowering people in Stoke-on-Trent…”.

This part of the discussion touched on the question of acceptance or rejection of public art and why. It was pointed out that there will always be a bit of both simply because people have choices, but the relevant question for artists is

“…have we explored what people want?”

This question shifted attention to what kinds of art are more acceptable than others and the distinction was made between “works of art and public decoration” . It is an easy choice that funders tend towards, of “making the place look nicer” but without “depth” in the work, and simply acting as a facade to cover up deeper problems.

This point was picked up with the example of Toxteth in Liverpool, where historically grand houses now in neglect or abandonment were given this art treatment on boards filling the windows, “…superficially very lovely in the same way as eating something sweet makes you immediately go ooo! that was nice, but afterwards you come down and then what’s left behind that, when those boards come down what’s left in place of them?…”.

Another example was given from the same area of an exchange with two ex-residents, who talked about how they were bitter about the way they had been moved out of a very meaningful place for them and now didn’t like to pass the houses with what they saw as “purple stuff” all over where they had lived, “..all they could think about was the loss..”.

These exchanges brought out the importance of the relationship with the people of an intended art location or wider city project. The next point raised was that the public is a shared experience of a place despite differences, in that sense we are all the relevant public, perhaps to the extent that we invest our lives in a location.

The discussion returned at this point to how awareness or ownership of the idea of art by the people of the city is often lacking, despite a rich tradition of art activity in pottery production. How to bridge the gap between local experience and tradition in art engagement and acceptance of other kinds of art?; to get over to the people of the city that “they’ve got the ability and they’ve got a say.”.

Another example, taking up the baton of this issue of barriers and engagement, illustrated how it can work, especially if it occurs over time. The location was Barcelona and a slum clearance area where a lot of poverty aid money was used to clear sites for developers to move in, but perversely, to bring in affluent residents. Public art was commissioned to assist this approach. Around the edges of the development however, many neglected empty slum properties were squatted by other artists who became part of the remaining community. Over time, these artists developed gardens for the estate and in which art works were placed. The success of this exchange led to official support and eventually changed the whole approach to regeneration in the city, “ …the artist intervention there changed the way the nature of the way regeneration, local people and art, work, so instead of art being…..imposed as decoration, it was actually what changed everything..”

Also, the relevant public are firstly then those who work with the artist, not just as receivers.

This led to the observation that public art isn’t just about developers and their agendas and that artists are better positioned and equipped to connect with the people and their needs where an art placement or activity is proposed. This led to an appreciation that artists need to promote a space of exchange where artist and public meet on an equal level, while recognising the particular role of the artist.

It was then suggested that for this to work some kind of representative structure should be part of any public arts initiative, enabling a relevant and informing input from the people affected.

This raised the question of how funding creates excluding structures that make it difficult for commissioned artists to develop the liaisons with communities that they want. The discussion then moved on to a further appreciation of how spontaneous independent actions are important alongside the properly funded projects but that while different models of action are relevant, we need to keep an eye on the problem of being used as a cheap fix.

The Polish group were then asked about their experience and interestingly they drew a parallel with Warsaw in the level of demolished sites in our city; that in Stoke there is more waste land per person than anywhere else in the country. They also commented on the distinct industrial architecture and suggested these should be used where possible; that this kind of use is very popular in Poland, to establish “new aims and purposes”. There was also a recognition of similar problems, in particular that of knowing what you want to do, but not being able to get proper funding because of conflicting interests of developers and other interested parties or officials. A further point made was that it is important to establish communication with local officials or agencies, which can help in recognition of insitutional constraints and inform action better.

This reflection brought forward the recognition that artists/cultural animators of any kind joining together provides more of a united front in effectively addressing these more political dimensions.

Returning to the question of relevant dialogue with residents or communities, an observation was made based on experience with youth groups locally, that there is a firmly embedded cynicism at the history of art projects in the area, and illustrated the need to change existing policies to become more inclusive. “..there is a whole raft of knowledge and really switched on people who genuinely don’t feel they have a voice and are very aware there are massive changes about to happen to this city..”.

This contribution prompted further recounting of the richness of stories and history of communities locally and the need to bring a connection with these into any policy approach towards public art.

The ability of existing decision makers with hands on the “purse strings” to recognise these needs came under scrutiny. It was commented that there is a “bottleneck” at the moment because of lack of awareness and “integration” by the council authorities and politicians and yet most funding, including Arts Council, can only happen with local council approval. It was then put that this means we do need to be more vocal, to return to an earlier question, in order to get seen and heard. Also, demands on sterile detailed justifying of art work needs to be relaxed to allow a level of “openheartedness” and natural inconsistency of discovery and development of art projects.

This returned the discussion finally to the secondary forum title question: Does the City need a hero? and the observation that rather than a hero we need a champion, “and we need several champions” and not just in the arts but across the city to promote an atmosphere of acceptance and ownership of the art that is done. Also that a vision of this engagement would be when funding for public art comes from and reflects all the agencies and public services in the city, who in one way or another want to fund art in their workplace. Art then “..becomes integral to the thinking of all purse string holders..” It is about capturing the imagination of decision makers to the idea of art as relevant and necessary.

The discussion moved on to a comparison with Warsaw again and in particular architecture, and how this can be the most obvious expression of disconnection with the population, when there is a divide between them and the authorities. In turn this brought out a distinction to be made between ‘re-development’ and ‘regeneration’, when the latter is understood to include “dwellers” in plans on an equal footing, while the former is more about the interest of investors alone.

The discussion ran out of time and finished with an example from West Bromwich of an accelerated arts building that was done without connection with the community and is now an underused negative presence; the fear being that local planners are going down the same route and could damage the “soul” of the city.

The forum was brought to a close with recognition of the quality of the presentations and the many contributions to discussion made."

Monday, March 9, 2009

the tour...

On Friday, 20th February 5 Polish artists, visiting Stoke-on-Trent were given the following card:
The numbers were co-ordinates for Cauldon Park, where I was waiting - dressed in my 'Official Tour Guide - Stoke-on-Trent' uniform. They were precisely on time, and this is what they saw as they approached:When they arrived I introduced myself as the city's offical tour guide and explained that we would be taking a tour of the City centre's regeneration zones. I gave a bit of potted history on the City before leading them nito Hanley Park.
I took them over to look at Emily Campbell's public art piece. We discussed the way that the texts were generated, and the fact that artist's often have to negotiate and compromise when working within the public realm - as was the case with this piece. (I assisted Emily with workshops and consultations during the making of the works.)We talked about the 'plonking' approach to public art favoured by commissioners and how Emily had wanted the texts to be surprises for the walker in the park - not obvious monoliths. The commissioning council wanted something big and shiney - and so this piece 'Do you feel it too' represents the artist's compromise. We discussed these works in the context of the Park's crumbling Victorian features. And the fact that shortly after installation of the works the pavilion, where some of the art workshops took place was boarded up.
We stood on the bandstand, donated by George Howson (a local Potteries owner) in 1896. Back in the 20s and 30s this bandstand was the place to be for courting couples to come and dance. It now stands empty; no music plays here any more.We looked at the bowling greens and I briefly summarised the rules. We then wandered up College Road, past the Atlas works where Renew are creating new space for small businesses from the old pot factories.
We made our way into town, I pointed out a few things on the way including Doug's barber Shop and the best piece of grafitti. We stopped at the immense expanse of open space, which is the Tesco development site. Once filled with factories, pubs and other buildings, this enormous clearance area is due to make way for perhaps 'the biggest Tesco in Europe.' David said as we approached 'I feel like I'm at the Beach.' From this point it is possible to see the first bottle oven on the route - which seemed interesting; to discuss Tesco in the context of the City's past.
We made our way into town, past the gap where the cinema used to be, and then to various sites of interest around the centre. We ended the tour with a visit to the bus station, a dated piece of architecture, due for demolition as part of the new east/west development. The development will see a massive new shopping mall land on the area, and will also mean the demolition of the Coachmakers Arms, the last community pub in Hanley - which was our last stop on the tour - for a pint. It was at this point that i revealed that I was not really a tour guide, but an artist, and that they had just been participants in a living art work. They said they really enjoyed the tour, and it turned out that Ola is a tour guide in Warsaw!

Wednesday, February 18, 2009

Brochure's arrive!

Last few things to organise ready for Friday's tour...Thank goodness the leaflets have arrived, and they look pretty good.
Still need to put the finishing touches to the Tour guide outfit. I do hope the tours go down well.
Have also organised to present and initiate a discussion on the themes relevant to my action research on Tuesday 3rd March. The discussion will take place as part of the Headtalk' Forums.
Title of discussion is: What is the role of the artist in the regenerating city?
I will be presenting some of the findings from my Action Research and we will be examining some of the theoretical materials that I have examined including: Sophie Hope's Manifesto of Possibilities, Malcolm Miles' Interruptions essay, and we will also look at Preston's In Certain Places project in order to ascertain what can be learnt and what is relevant to Stoke-on-Trent.

Click Here for more information.

the brochure

So, I have been working on my 'Official Tour Guide - Stoke-on-Trent' brochure to go with my tour. This is one side of the brochure for the regeneration tour, which is due to take place on Friday (20th Feb) I am still working on the other side because I can't decide exactly what I want to say.
Depending on how this one goes I hope to create a second tour, which takes in the 1986 Garden Festival Site, as it is today.
There is still a lot to do in time for Friday - sewing red ribbons onto my tour guide costume, making a flag thing to hold up (like in the picture) and getting the brochures finished and printed.
I will also get the 5 Polish artists to fill in a monitoring form at the end of the tour to find out what they thought about it.

Monday, February 9, 2009


Couldn't find the exact map that I wanted for my tours - so having to create my own - tracing from an old map. So far I have worked out the route (red dots) but not exactly everything that i will say on the way - or how exactly I want to make the brochure (tourist information map).
There is a lot to do before next weeks tour.