Tag Archives: CS Stooshie

A belated write-up of Creative Scotland’s Open Session in Edinburgh

It has been over a week since the Creative Scotland Open Session in Edinburgh. I’ve been meaning to write about it since then, but every time I start a draft I get exasperated and abandon it in favour of the work I actually get paid to do.

The official write-up of the day is here, just so you know: http://www.csopensessions.com/pat-kanes-blog/edinburgh/

The session was 4 hours long, 12 – 4, but nothing actually happened until 1pm. That was far too long to leave people sitting around. I understand the value of chat and know that there’s always a certain amount of time set aside for meet and greet, but 25% of the overall event time was too much. It might have been more useful to have this unstructured time at the end of the session rather than the beginning. That said, the catering was very nice…

The structure of the event was as follows: an hour of dithering, three speakers, a Q&A with the speakers, then 45 minutes of discussion at our tables and a short presentation of what we found. Apart from the first hour, it was all structured and guided in a way that served to kill off any spontaneity or organic discussion.

I’m not convinced by the idea of having three speakers at each event. This is partly because I get bored very easily if I’m watching people who lack public speaking skills. Only Hannah McGill was a particularly engaging speaker. I’m also sceptical about the selection of speakers. I can see that CS is trying hard to bring in voices from all areas of the arts (no, I’m not adding “and creative industries” because I don’t see them as separate entities, that’s an argument for another post) and has invited some outspoken critics of the organisation. However, the very fact that only selected speakers have a voice rankles with me. There are so many people within the arts who will speak not because they have something to say, but because a platform has been offered and god forbid they should ever pass up such an opportunity to be in the spotlight. (Actually, I’m not convinced that’s limited to the arts. I suspect that’s just a human thing.) Add in a fee and few people will turn it down.

One of the speakers, Ed Stack of indie music download company Ten Tracks, chose to show part of a TED talk by Amanda Palmer. Pat Kane, who was chairing the Open Session, describes her as “US indie rock goddess”. If you consider a goddess as an entity that demands endless amounts of attention and tribute from group of fanatical worshippers, that sounds about accurate. I watched that TED talk in its entirety when it came out, and it puts an extremely disingenuous spin on Ms Palmer’s exploitative behaviour towards her fellow artists (again, future post) and completely disregards the fact that her “art of asking” only works if you start from a position of considerable privilege. We should not be basing our ideas about being a working artist on the assumption that everyone has a typical middle-class support system in place. Showing videos made by people who donated their labour for free is all very nice, but it doesn’t help me as a working artist unless you tell me how they’re paying their bills while they give everything away.

Anyway, by the time the speakers had finished I had nearly worn out the battery on my phone by having Twitter conversations, many of which were with people who were actually in the room with me. Since there wasn’t a way for us to talk to each other as part of the event, we found out own damn way. I do hope CS is keeping a record of the Twitter conversations – they’ll find more in-depth discussions there than those that I was privy to in the room.

The Q&A with the speakers was derailed by the very first question. Apparently someone thought it necessary to ask “how Scottish” Creative Scotland should be, plunging us back into the pointless circular debate of the Alasdair Gray stooshie from last December. Suddenly everyone had to prove their Scottish credentials and how non-anti-English they are. Useful conversation ground to a halt. I had a sore tongue for two days from biting it really, really hard. I’m still not sure what the point of that question was.

Tim Licata from Plutot la Vie brought up an interesting point in his question about whether CS needs a “vision” or might be better off having a “purpose”. This is actually the kind of discussion that helps, because it lets us get closer to the fundamental problems that have to be addressed first in theoretical then in practical terms if we are ever to see genuine change. Alas, this was a Q&A with selected speakers, not a free-flowing discussion amongst equals, and the room was still suffused with the energy from the last question – not the kind of energy that encourages debate or diversity of opinion. Although Tim’s question may well have been the most important one asked that day, the response was little more than “hmm, yeah, suppose so”.

Arguing about language doesn’t feel like it should be difficult, but it is. When you actually start picking apart the things that people say (and the things that you say yourself), you start to make discoveries about the ways of thinking that underpin the language. It’s easy to dismiss it as semantics and claim that it’s not action, it’s not important. It is. You can’t change how people think unless you engage with it and attempt to understand it. You can’t do that without looking at how their behaviour is expressed in language, it’s like wanting to see the whole dinosaur skeleton while claiming that sweeping away the first layer of dirt is pointless. We should be prepared to have our words challenged and to defend out use of them. I’ve argued for this throughout my involvement in this conversation.

However, challenge really wasn’t a part of the Open Session format. After the Q&A we were shuffled into groups sitting round tables, being asked to discuss a central question. By the time the shuffling was done, no-one at my table could remember what the question was. We discussed what we’d like to see from the new, improved Creative Scotland and some points were written down on a large flipchart that had been left with a single pen in the centre of the table. So rather than a record of the diversity of ideas and opinions around the table, we had a sanitised version that said all the things you’d expect it to say. On the surface, it looked like consensus. In reality, it was the result of voices being stifled so that we could get some dinky phrases down on paper by the end of our 45 minutes, to be shared with the other groups as someone from each table got up and explained that they had reached more or less the same conclusion as everyone else.  CS should be nice and supportive and understand us and help us. It should nurture this delicate ecology. Pat Kane asked the question about whether Creative Scotland should resemble a gardener, trying to control said “ecology”. As he notes in his blog, someone piped up to say that trying to control ecology doesn’t make you a gardener, it makes you a god. Perhaps unsurprisingly, that was me. Gardeners don’t control ecology, they understand it. They learn how to work within it to bring about change. That’s not the same as control. By all means, let Creative Scotland be a gardener, but it must not be a god. That’s how we got here in the first place.

Afterwards, on Twitter, there was a bit of a discussion about the word “ecology”. I don’t like it much, mostly because I hear it used in an attempt to sound scientific and intelligent and to conceal a lack of content or substance. It is difficult, perhaps impossible, to quantify the value of art – but I don’t believe we do ourselves any favours by borrowing the language of science (or business, or anything else) without being willing to interrogate it. Also, “ecology” and “ecosystem” are not quite the same thing, and they shouldn’t be used interchangeably just because “ecology” sounds a bit more natural and friendly than “ecosystem”.

Anyway… by the end of the Open Session I felt frustrated and angry. The discussions that we had there were discussions that have already been had, over and over again, online and off. Perhaps the fact that we needed to have them again is indicative of new people joining the conversation, in which case it’s not necessarily a bad thing, just a frustrating thing. But perhaps it’s indicative that while there has been some change at CS, it’s not going deep enough yet.

That same day, the advertisement for the new Chief Executive was posted. The language is more promising – at least it features the word “integrity” – and we know there will be artists involved in the decision-making process, including Vicky Featherstone who seems unlikely to refrain from speaking her mind. However, the salary appears unchanged, and I question the integrity of anyone willing to accept a salary more than ten times in excess of what most artists earn. I question what it means that Creative Scotland still sees that disparity as acceptable. (Someone at the Open Session tried to defend the salary to me on the grounds that being Chief Exec is a difficult job involving long hours. Want to talk about difficult jobs with long hours? My mother was a nurse. She was not on £120K/year. Even without the apples to oranges comparison of arts and medicine, I am a writer and director. I regularly do 16 hour days. I never get paid to sit in meetings. I have coffee with people on my own time and money. My skills have to be extremely sharp and constantly honed if I am to find work in a highly competitive environment. Forgive me if I don’t shed a tear for the terribly hard life of a heftily-salaried arts exec.)

I believe in the need for the Open Sessions, but I think the purpose is currently incorrect. Artists need a forum through which they can talk to CS. It needs to be less structured. We don’t need to be talked at, we need to have conversations. We need to meet the people who make up the organisation, put faces to them, let them put faces to us. We need to see that they are people and let them see that we are people. This is how you build relationships. Give us something truly open, where we can bring our concerns (whether “we” are artists, CS, audience or other), meet each other, respond to issues as they come up. Basically, look at the Devoted & Disgruntled model and do that. Not just because it works, but also because it’s an exercise in humility – by relinquishing control and trusting to those present, you make an admission that you do not know best. If CS knew both what it needs to do and how to do it, change would be happening already. It doesn’t. Perhaps no individual or formal organisation does. That’s not going to change without people being brave enough to admit that they don’t know.

That said, I believe that Kenneth Fowler – CS’ head of communication and external relations – actually gets this. I’ve always felt quite hopeful after talking to him. He seemed aware that the format wasn’t quite working and was asking people directly for their thoughts at the end of the session. He said it would evolve. I believe it will, and that’s why I’ve taken the time to write all this. I have no desire simply to be negative about the whole thing. Everything that I’ve brought up in this post has been mentioned because I think there’s a possibility for change. I hope that the attitude that I see in Kenneth and believe to be present in some of the other CS employees will spread and eventually become normal within the organisation. Believe it or not, I don’t write these blog posts just to get things off my chest. I do it because I still believe that thing can change. More than that, in fact. I still believe they must. Which is why, in spite of everything, I’m glad I went.


A plea to Creative Scotland and its board

It’s been a while since I posted about the Creative Scotland stooshie. In December the board requested a bit of time to consider what to do next. I know it’s only the end of January (probably the beginning of February by the time I finish writing this), but considering how swiftly events moved towards the end of last year, this feels like a very long pause. With the next board meeting looming on February 7th, no doubt there’ll be news soon – but in the meantime, I would urge Creative Scotland and its board to think carefully not just about what they do, but about how it reads to us on the outside. As Henry Fielding puts it:

It is not enough that your designs, nay, that your actions, are intrinsically good; you must take care they shall appear so.

Optimist that I am, I truly believe that the remaining staff at Creative Scotland have good intentions. I hope the same is true of the board. I believe there are plenty of people involved who see the need for change and genuinely want relations between artists and Creative Scotland to improve, who are hoping that whatever comes out of the next board meeting will bode well for the future. This belief engenders hope, not just in me but in many artists. But it’s a fragile, newborn hope, still at the stage where it could easily be crushed by clumsy handling, whether by the organisation itself or by the board.

Creative Scotland’s challenge is to be careful how they present themselves. I was a little alarmed to see them advertising for a Research Officer on Ideastap using phrases such as “key stakeholders” and “deliver the ambitions of our corporate plan”. Seeing this kind of market language in an arts context always makes my blood run cold, but even if I set my personal qualms aside, there’s this: “a commitment to our values will be essential.”

The whole point of CSstooshie was to establish that there was a problem with Creative Scotland’s “values” as they stood. This was acknowledged by senior management and by the board. Creative Scotland needs to figure out what its values are before demanding that people commit to them. I know this is a standard phrase to see on job advertisements, but that’s exactly the problem. It reads like a standard phrase in a standard ad for a standard office job, with no implication that working for Creative Scotland should require a wee bit more. Commitment to the arts in Scotland, perhaps? Perhaps Creative Scotland thinks that’s implicit in asking for a commitment to “their values”, but they haven’t yet earned sufficient trust for us to take that as read. Now more than ever, we need to see meticulous attention to detail in the way they write their job descriptions, because the job descriptions that they write for a new Chief Exec and new Creative Director will have far-reaching repercussions. If they want us to believe that they’re capable of taking such pains over the descriptions for the top jobs, they need to demonstrate it all the way down to descriptions written for Research Officers (who, judging by the fact that they only earn three or four times what most of the artists I know earn in a year, must be pretty low down the CS totem pole).

As for the board, they made a massive step in the right direction when they released the Pitlochry statement and it’s vital that they don’t do anything to undo that good work. As they formulate new plans and begin the search for a new Chief Executive, it’s absolutely necessary that they not only consult and listen to artists, but that they are seen to do so. The easiest way to do this, it seems to me, would be to add some artists to their largely non-artistic make-up. I don’t mean that they should adopt a token artist – I think I’ve made my feelings on box-ticking abundantly clear in previous posts – but that they should consider reshaping the board so they have more representation from the nebulous thing that is the artistic community. They would also do well to make sure the process is as open and transparent as possible, since any hint of cloak-and-dagger dealings, nepotism or taking the path of least resistance will serve to destroy that fragile hope and trust.

So this is my plea to Creative Scotland and its board: if artists are willing to trust that your designs and actions are good, will you take care that they also appear so? Don’t leave us to guess at what’s going on and how decisions are being made. Be clear and open with us. Nurture that hope and trust, because the stronger those things are the easier your jobs and our lives will be.

And if in doubt, ask the artists – we’re pretty good at knowing how things will read…


A Response to the Creative Scotland Board Meeting Report

The statement from Creative Scotland’s board gives me cause for hope. Like many artists I was expecting a stubborn refusal to acknowledge the scale of the problem, perhaps even denial that there is a problem in the first place. Instead we got a statement that was respectful, refreshingly low on empty corporate-speak and even showed a certain amount of humility.

 

They’ve acknowledged responsibility for the deterioration of Creative Scotland’s relationship with artists, they’ve promised change and given a rough outline of how that will happen, they’ve even actively solicited our judgement on how they get on. It’s extremely promising, and there are points that merit particular praise. For example, the board vows to get rid of “strategic commissioning”, eliminating one of the most contentious issues Creative Scotland has had to deal with recently. They give a special mention to the staff who have been working under difficult circumstances. They confirm what was said at the Artists’ Open Space about simplifying the language used. These are all good things.

 

That said, at the moment it’s all just words and time alone will tell whether the words will become action.The board has asked for time to implement these changes, which I think is wise. Best to take as much time as is required to do a thorough job. If they make good on their promise to deliver a detailed plan with a  timeline in the New Year, and if they continue to communicate openly in much clearer language, it will be possible to have a proper conversation between artists and Creative Scotland. I’m sure there will be more frustration ahead before we reach a harmonious way of working, but if the end result is a funding body that has a strong working relationship with artists then all the drama of recent months will have been worth it. The Year of Creative Scotland has come to an unexpectedly positive close.


Some thoughts on Artists Open Space

It’s taken me a while to get round to writing up my thoughts on the Open Space at Waverley Gate. What with directing and producing two shows concurrently, this is the first spare moment I’ve had to write things down! With any luck, I’ll get round to answering some of the emails I’ve received in the wake of it too…

It was a very intense day. On the one hand it was very exciting and inspiring to be around so many artists who all felt strongly about the need for change. On the other, there were a few frustrations – the focus was mostly on how we make it easier for artists to access the money available through Creative Scotland. I’m not denying that that’s important, but I don’t think that rethinking the application forms is sufficient. These problems with Creative Scotland are the result of ideological problems. For Creative Scotland to function well and be useful to artists rather than an obstacle to them, it must sort its collective head out.

When I look at the information currently available on the CS website and at their funding forms, I see language which reflects some troubling ideology. It’s very ‘businessy’. The Creative Scotland staff who attended the Open Space were at pains to point out that part of CS’ function is to act as an interlocutor between artists and government, making the case for our continued funding and role in society. Fair enough, but the issue is that if you don’t speak both languages you’re not much use as an interpreter. If artists are expected to learn the ‘businessy’ language (assuming it can be learned, because some of it looks like it really doesn’t mean anything), what’s the point of an intermediary? If that’s the role CS wants to fulfil, they need to speak OUR language. If they only speak the language of government, they can hardly be surprised if we regard them as an agent of government.

The thing is, solving this problem involves a lot of talk. I got a strong sense that several people at the meeting regard ‘talk’ and ‘action’ as mutually exclusive terms. They’re not. Sometimes talk is exactly the action that’s needed. And how do you carry out any kind of collective movement if you don’t plan it first? There’s no point in ‘taking action’ if all you’re doing is charging around blindly. First you have to figure out what to do, and that’s a lot easier if you have some idea why you’re doing it. Creative Scotland needs to figure that out. WE need to figure that out. I can see why it’s an unpopular view – it’s hard work, long-term work and it’s much less dramatic/fun than charging around blindly or yelling about how “someone should do something” and demanding resignations. Yet until we actually knuckle down and do that work, we will run into the same problems again and again and again.

Having said all of that, one of the principles of Open Space is that whatever happens is the only thing that could have happened. This meeting was the start of the process, and it was a bloody good start. I remember the organisers of Devoted & Disgruntled saying that they usually find that on the first day of their events everyone is more disgruntled, rediscovering their devotion on the second day. Considering how angry and frustrated the artistic community has been, it’s hardly surprising that there was a lot of attention going to surface issues. (I had originally hoped to make it a two day event for this very reason, but I could only get the Waverley Gate space for one day. I took what I could get.)

The other major frustration was numbers. 90 people signed up via Eventbrite. 35 of them turned up, plus another 10 – 12 who hadn’t registered. There are always no-shows, especially when you’re dealing with a lot of freelancers with busy schedules, but that was a ridiculous number. When the event showed up as sold out I had to turn people away.

On a personal level, it’s also a wee bit infuriating to see how much better attended the Glasgow meeting was today. I love Edinburgh, I really, really do, but when it comes to actually speaking up for ourselves and not being apathetic, Glasgow beats us hands-down every time. I hear so many people complaining that it’s hard to make a living as an artist in Edinburgh, it’s easier if you go to Glasgow – but do something to change things in Edinburgh and where are the people who complain? You want things to change, TURN UP and make it happen – or don’t be surprised when it doesn’t.

On the positive side, I think that between Artists’ Open Space and the Tramway World Cafe we have succeeded in making it clear to Creative Scotland and their board that this is not a problem that’s going to go away in a few months’ time. (Perhaps some of their board members will actually come along to future meetings. They really need to, just as members of the senior management team need to make sure they continue to be present. We need them to be a regularly-appearing feature of the arts world, otherwise we’re naturally going to perceive them as shut away in their ivory tower upstairs from Amazon.)

It was also really useful to bring artists together. There were plenty of cards being exchanged and I’ve had some lovely emails saying how much people got out of the day. There are now a few more artists who want to make change and know where to find each other. It’s small, but it’s important. We need to keep networking, keep talking, keep making little changes in attitude and action.

In terms of Creative Scotland making changes, probably the biggest point to come out of the day was a promise to rewrite the website with the help of various organisations such as the Literature Trust and Federation of Scottish Theatres. They’re planning to rewrite by next April and I doubt this gives them time to learn our language, but perhaps we can harness our collective power to work through our representative organisations and make our voices heard. If there is an organisation that represents your art form, contact them and check that they’re being consulted and that they’re looking after your discipline’s interests. We have a chance to make change here if we keep applying the pressure.

There was also talk about the need for artists in the decision-making process, on the Creative Scotland board and in consultation roles where they can share their expertise from an external perspective. It seemed that the need was acknowledged, so now we need to hear how that’s going to be achieved. I’m still gathering reports/notes from the meeting and posting them on the Artists’ Open Space site, but once they’re all in I’ll send the link and action points to Andrew Dixon and his team. There will definitely be a request for hi to outline their plans for increasing artist involvement.

So at the end of all this I’m still feeling optimistic, and I can’t wait to hear what has come out of the Glasgow meeting. I’m also feeling somewhat drained by the whole thing, but that could have something to do with the impending dress and tech rehearsals for the double bill… Plans are afoot for more Open Spaces to continue the work, but I won’t be doing anything about organising them until my shows are up and running next week.