Restock, Rethink, Reflect Four: on Live Art and Privilege

2016

Ongoing Project

Restock, Rethink, Reflect

Restock, Rethink, Reflect (RRR) is an ongoing series mapping underrepresented artists, practices and histories. The series aims to mark the impact of Live Art practitioners and practices, whilst supporting future generations through artist’s development opportunities, resources, projects, and publications.

Following the first three Restock, Rethink, Reflect projects on race (2006-08), disability (2009-12), and feminism (2013 -15) Restock, Rethink, Reflect Four (2016-18) is on issues of Live Art and privilege.
 

Restock, Rethink, Reflect Four

Restock, Rethink, Reflect Four is a collaboration with Dr Amit Rai of Queen Mary, University of London, and aims to mark and map the ways in which Live Art has developed new forms of access to, and understandings of, knowledge, agency, and inclusion in relation to the under-represented, marginalized and disenfranchised constituencies of:

  • the young
  • the old
  • the displaced, and
  • those excluded through economic and social barrriers 

​The first year of Restock, Rethink, Reflect Four was research based: mapping the territories, unpicking the most critical questions, and developing new partnerships, resources, strategies and approaches.

This research primarily took the form of four artist-led residencies in LADA’s Study Room, with each residency generating a Study Room Guide, new resources, and a toolkit of methodologies: more details here

The four residency artists also shared their findings as part of the Practice, Participation, Politics Gathering event.

The residencies are also part of LADA’s work for the Collaborative Arts Partnership Programme (CAPP), an EU-funded research project looking at collaborative practices within socially engaged contexts. The overall goal of CAPP is to improve and open up opportunities for artists who are working collaboratively across Europe, by enhancing mobility and exchange whilst at the same time engaging new publics and audiences for collaborative practices. The principle aims of the CAPP residencies are to explore new models of participation and co-operation and encourage an exchange of artists’ methodologies, contexts
 and ideas.

The RRR4 2016-17 Residencies

The Young

Dr Sibylle Peters of Theatre of Research (Germany) undertook a residency exploring Live Art practices and methodologies in relation to intergenerational practices, especially with children/young people. The residency built on LADA’s collaboration with Sibylle on PLAYING UP, an artwork exploring the potential of Live Art to bridge generations in the form of a game played by adults and kids together.

On Friday 16 December 2016 Sibylle invited artists of all ages to remember and share their very first piece of Live Art.

The Old

Professor Lois Weaver undertook a residency exploring Live Art practices and methodologies in relation to working with older individuals and communities. This residency built on LADA’s collaborations with Lois on Live Art and Feminism, particularly in relation to older artists, and to her own work on What Tammy Needs To Know and the Wellcome Trust People Awards.

The Displaced

Following an open call for proposals we invited the artist and researcher Elena Marchevska to undertake a residency exploring Live Art practices and methodologies in relation to the experiences of the displaced. This residency is a collaboration with Counterpoints Arts and built on our 2015 partnership on the dis/placed programme of events which was organised in response to global demographic shifts and unprecedented levels of human displacement.

As part of her residency, Elena has invited the artist Tanja Ostojić to run a free two-day workshop at LADA on ideas of displacement as part of Tanja's ongoing Misplaced Women? project, on 13-14 December 2016. The workshop was followed by a public performance by Tanja and workshop participants.

Elena also invited artists to submit contributions to her Study Room Guide on Displacement in the form of anecdotes, stories, short observations, poems, photographs or performance texts on their experiences of the ‘state of displacement’.

Read Elena's guest post for Performing Borders on Misplaced women?: The concept of hospitality in times of displacement.

Class and Cultural Privilege

Following an open call for proposals we invited the artist Kelly Green to undertake a residency exploring Live Art practices and methodologies in relation to issues of class and cultural privilege. This was a two stranded residency, in collaboration with Canterbury Christ Church University (CCCU), and Sidney Cooper Gallery involving time in LADA’s Study Room followed by engagement with CCCU and community groups in Kent and the Rhondda Valley, Wales as part of a wider project with Tate Exchange.

Further information on partcipating artists

Dr Sibylle Peters is founder and director of the Forschungstheater/Theatre of Research situated at the FUNDUS THEATER Hamburg, a theatre where children, artists and scientists meet as researchers. Co-operating with schools and universities the Theatre of Research is a well known pioneer project for new forms of cultural education. Artistic practices are applied to make research more inclusive and bridge gaps between generations, cultures, social backgrounds and fields of expertise from kindergarten to the associated PhD programme Performing Citizenship. The Theatre of Research has been granted the Federal Award for Cultural Education 2012 (BKM- Preis für kulturelle Bildung) and the Hamburg Award for Urban Community Art 2015.

Professor Lois Weaver is a performance artist, writer, director, and activist. Her research interests include live art, solo performance, feminist and lesbian theatre, aging, performance and human rights, and the relationships between performance and public engagement. Weaver was co-founder of Spiderwoman Theater, Split Britches, and the WOW Café in New York, and Artistic Director of Gay Sweatshop Theatre Company and the AiR Supply Collective in London. She is professor of Contemporary Performance at Queen Mary University of London. In 2015 LADA published The Only Way Home Is Through the Show: Performance Work of Lois Weaver, edited by Jen Harvie.

Dr Elena Marchevska is a performance artist and researcher. She studied directing, performance, new media and feminism, and is currently teaching Performance Studies at London South Bank University. Her artistic work explores borders and stories that emerge from living in transition. She is interested in creating and researching work that provides means by which people can meet, human to human, in all their differences, in the most sensitive and sincere way possible. Much of her work is created through collaboration and sharing of stories and lived experiences. She has been involved in many international collaborations over the last ten years that explore issues of exile, war and post-conflict resolutions, including collaborations with CIE Kumulus and Nomad Dance Institute. www.elenamarcevska.com

Kelly Green is a working class, performance artist, academic and facilitator. She graduated from The Royal Central School of Speech and Drama in 2008, and then went on to do a Masters in Performance and Creative Research at the University of Roehampton. She is entering the second year of her PhD at Anglia Ruskin University. Her research project is entitled Chav Ballet: Developing a working class female aesthetic through performance. This is a practice-as-research project that is concerned with performance aesthetics, and how art forms relate to our cultural identity. Her practice is socially engaged. She has worked as an arts facilitator for the last 7 years, and has extensive experience in various settings developing creative projects with underrepresented communities who have been affected by their lack of cultural and economic privilege.  In 2011 she collaborated with academic Lynne McCarthy and developed a project for The Immigrant Movement International, organised by Tania Bruguera, where artists responded to the discourse of displaced communities. Their project, Soil Dispositions, has been cited in Professor Alan Read’s book, Theatre and Law (2016). 


Part of Restock, Rethink, Reflect Four: on Live Art and Privilege