A Life in Transition

To say that the Atelier Young Festival Manager’s Conference was a life changing experience is an understatement. And even that understatement is an understatement.

 Putting together the vlog of the 9 days I spent in one way completely out of my comfort zone but in some ways affirming that it was the only world I would ever feel comfortable in, I realise just how much ground was covered, and how much the trip will be forever ingrained at the forefront of my mind.

As I've previously noted, the conference led to the stunning admission that I am not just willing, but more than able to produce the world-touring, multi-disciplinary, community enthralled and artistically promiscuous festival I have wanted to for a very long time. I left the Atelier with a heavy heart, leaving behind so many friends (but not for good!) and at the same time I was buzzing with anticipation to get stuck into the first baby steps towards setting up my dream for real.

But this admission also came with a price. Following the Atelier, I parted ways with someone I loved very much, because my dreams held different consequences for him. I had always wanted to have both. As Ching-Lee Goh points out in the EFA’s 5th book, Inside/Insight Festivals:

It was been said that festival directors are like magicians. I have felt like a juggler tossing balls while standing on one foot, keeping an eye on different agendas that came with conflicting demands. We are expected to master that art of resolving contradictions - to be innovative and critical without being inaccessible, to be demanding and selective without being exclusive, to embrace diversity without sacrificing identity, to win new audiences without losing old loyalties. But herein lies the magic of festival-making, where through optimism, persistence and some good luck, the improbable can happen. 

 Ching-Lee Goh, Executive and Artistic Director of CultureLink Singapore 

Although for a brief, but at the time seemingly long, moment I doubted whether I’d ever be able to balance relationships with my long standing desire to change the world through performance, I now hope that someday I will. I’m certainly going to give it a flippin’ good try.

 Looking at Ching-Lee’s quote in a different way, I realise that it’s not just my world that doesn’t exist without culture – our entire planet wouldn’t continue without it. This is why I’m horrified to hear about the introduction of the English Baccalaureate, which by completely focusing on academia will ignore all arts and technology subjects. The EBacc, as it’s being called, only takes the following subjects into account: English, Mathematics, the Sciences, one language and a choice between Geography and History. This could be unbelievably detrimental to the future of the arts and cultural industries in the UK.

If the EBacc goes unchanged, the UK risks losing its competitive edge in the fields in which we are world class. It is as if the Olympics never happened. Design – gone, technology – gone, music – gone. 

Deborah Ametts, Chief Executive of the ISM and Chair of the Music Education Council 

Following the Cultural Olympiad throughout the UK, and of course London 2012’s Opening and Closing Olympic and Paralympic Ceremonies, the world seemed to momentarily stop and stare in awe at the UK arts scene. Our government championed it. Now it appears that certain politicians have forgotten all about the life changing cultural and artistic experiences that this major sporting event provided for many British people, and how it served to place Britain once more firmly on the arts map of the world. All of a sudden, the arts have returned to its low status in education, with low funds and a feeling of unimportance in the grand scheme of things. For me, the thought is terrifying.

I am not advocating learning dance or music instead of English or Mathematics. Clearly that would be wrong. However, Cultural Education subjects should be recognised for the intellectual vigour and practical skills that they teach a child, rather than merely as a ‘nice to have’ add-on. 

Darren Henley, Cultural Education in England Review 

As it stands, the EBacc is not just detrimental to those young people who are not academically minded, it also forces those who are into paths they do not wish to follow.

I am concerned to learn from many of the teachers who have contributed to this Review that some more academically able young people are being steered away from subjects which might form the basis for their future employment within the Creative and Cultural Industries.

 Darren Henley, Cultural Education in England Review 

If you look at my university certificate, I am an academic. I achieved a 2:1 BA (Hons) in English Literature from the University of Warwick, but I was never going to become an English teacher. I am of course, not knocking the teaching profession – it is simply not for me – but in my mind I had always wanted to be in the arts, and in dance in particular. It’s horrific that some youngsters are now being denied the pathway they’d like to choose.

The way the Department for Education website describes its decisions is shocking – it’s as if the arts mean nothing at all.

The number of non-academic qualifications taken up to age 16 had risen from about 15,000 in 2004 to about 575,000 in 2010, with a higher take-up of vocational qualifications by young people from deprived backgrounds. Many of these qualifications do not carry real weight for entry to higher education or for getting a job. 

Department for Education website

I disagree. I don’t see what is so bad about pursuing vocational qualifications. In fact, for a significant amount of jobs out there, vocational qualifications are exactly what you need. The Arts Award in recent years has proved how valuable the arts can be, in terms of a university career:

So far, more than 60,000 young people have gained an Arts Award since the programme’s launch, with the Gold Award now carrying 35 UCAS points, allowing meaningful recognition by Higher Education institutions. 

Darren Henley, Cultural Education in England Review 

Whatever way you look at it, life is a performance. People are constantly making presentations, expressing opinions and finding creative ways to get a point across. The arts provide the skills needed to achieve all of this.

And so I move forward with Ching-Lee Goh’s words in my mind. Culture must prevail. It must continue to move forward. And despite recent losses, I will be one to make it happen. On another note, I had wondered extensively whether it was appropriate to share this rather personal affair on my blog that mainly deals with my artistic ideals and experiences, but my tagline, “Life on both sides of the curtain” said it all to me.

I now know that I don’t exist without this industry. I live my life through artistic contracts and post-show talks. I spend my days thinking of how different situations that appear in my life would make a good concept for a dance piece. My life is also a performance, and the show must go on.

The Atelier saw me rack up an unbelievable amount of mileage, and outside of it, I’m always travelling somewhere. In my work, I’ve gone from fixed term contract to fixed term contract, and now that I’m in a more permanent work situation, I thought that my movements would calm down, but I guess they’re not meant to.

And in my heart of hearts, I really don’t want them to.

I kissed you at the apex of the maelstrom, and asked if you would accompany me in a quick fall. But you made me realise that my ticket wasn’t for two. 

Untitled, AFI