These are a list of the sessions that were called on 9th February 2011 at The Roundhouse:
1. Where will we find a great producer?
2. Peer Mentoring - Help.
3. How do we move indoors? Tips, advice, debate
4. Running o the monthly open space together!
5. How to get the last 5% of my crowd funding?
6. I have Play - Doh
7. Visualising working with a group of underground artists
8. Inventive rehearsal styles on a show string
9. I'm learning BSL, would anyone like to help me practice?
10. Is it risky to produce a play about Cancer?
Thursday, 10 February 2011
Improbable's Monthly D&D Satellite - Festive Edition
Festive D&D - 7th December at The People Show Studios
In our last Monthly D&D of 2010 some really interesting issues were raised.
In a bid to keep these conversations going and to perhaps reflect further on the questions asked I will post a list of these issues:
1. Open Space - How?
2. I am being made redundant this month and my life just got more interesting as a result. How can I make the most of the creative opportunities?
3. I'm maybe buying a flat - is it the right thing to do? Will I have to get a proper job?
4. The People Show have been going since 1966/121 shows. What can we learn from them for the current arts funding climate?
5. Creative Collaboration - how?
6. The right email tone? Not too rude, not stupidly polite. How?
7. ACE Portfolio Funding vs. GFTA - which one?
8. Deadlines and Writers Block
9. Jesus, An intelligent activist?
10. Jesus - A good theatre maker?
In our last Monthly D&D of 2010 some really interesting issues were raised.
In a bid to keep these conversations going and to perhaps reflect further on the questions asked I will post a list of these issues:
1. Open Space - How?
2. I am being made redundant this month and my life just got more interesting as a result. How can I make the most of the creative opportunities?
3. I'm maybe buying a flat - is it the right thing to do? Will I have to get a proper job?
4. The People Show have been going since 1966/121 shows. What can we learn from them for the current arts funding climate?
5. Creative Collaboration - how?
6. The right email tone? Not too rude, not stupidly polite. How?
7. ACE Portfolio Funding vs. GFTA - which one?
8. Deadlines and Writers Block
9. Jesus, An intelligent activist?
10. Jesus - A good theatre maker?
Improbable's Monthly D&D Satellite - Hosted by Chuck Mike (July 2010)
Below is a list of issues that were raised. Where the issue is highlighted it means that there is a report attached to this.
1. If you address the issue of race in a play, does that mean that the play has to be ‘about’ racism? Can it not be about
the story as a whole instead?
2. Cultural ownership, race what?
3. Is funding based on race empowering or restrictive?
4. I want to create intercultural, interracial, international devised theatre. Who is doing this? If no one, who wants to?
5. How does race relate to cultural ownership? Who makes the rules about who is allowed to do what?
6. Yes it does but what is the Arts Council doing about it?
7. Can you affect the hearts of people by policies?
8. It does matter, how else will I get funding?
9. I’m still finding my opinions. Want to help me?
10. What practical strategies can the British East Asian sector learn from Black and South Asian artists in the loving
fight for equal opportunities?
11. There are a series of practical actions that address the question, shall we list them?
12. How will we know when we’re past it?
13. Is it race or is it culture? Is it social or economic?
14. Yes, it matters but the questions says UK – what about regional theatre?
15. Co- confessing: I’ll tell you how I think I am racist and you can tell me how you think you are – if you want…
16. If we concentrate on race. Does it reinforce negative notions of difference?
17. If we dissolve the matter of race, do we lose our identity, power & leverage within the industry?
18. What do you want the Arts Council to do about it?
19. What is UK Theatre today? How does race come in to play?
20. How does the question shift when we say international as opposed to race, think touring?
21. Is it better to be a black mugger/ Indian shop owner/ Chinese illegal immigrant and work,
or wait for the real character/acting role?
22. How do we practically make the decision makers and influences change and produce action?
1. If you address the issue of race in a play, does that mean that the play has to be ‘about’ racism? Can it not be about
the story as a whole instead?
2. Cultural ownership, race what?
3. Is funding based on race empowering or restrictive?
4. I want to create intercultural, interracial, international devised theatre. Who is doing this? If no one, who wants to?
5. How does race relate to cultural ownership? Who makes the rules about who is allowed to do what?
6. Yes it does but what is the Arts Council doing about it?
7. Can you affect the hearts of people by policies?
8. It does matter, how else will I get funding?
9. I’m still finding my opinions. Want to help me?
10. What practical strategies can the British East Asian sector learn from Black and South Asian artists in the loving
fight for equal opportunities?
11. There are a series of practical actions that address the question, shall we list them?
12. How will we know when we’re past it?
13. Is it race or is it culture? Is it social or economic?
14. Yes, it matters but the questions says UK – what about regional theatre?
15. Co- confessing: I’ll tell you how I think I am racist and you can tell me how you think you are – if you want…
16. If we concentrate on race. Does it reinforce negative notions of difference?
17. If we dissolve the matter of race, do we lose our identity, power & leverage within the industry?
18. What do you want the Arts Council to do about it?
19. What is UK Theatre today? How does race come in to play?
20. How does the question shift when we say international as opposed to race, think touring?
21. Is it better to be a black mugger/ Indian shop owner/ Chinese illegal immigrant and work,
or wait for the real character/acting role?
22. How do we practically make the decision makers and influences change and produce action?
If we dissolve the issue of race, do we lose our power, leverage and identity in the industry?
Person who called the session: Adanna Oji
Who attended the session: Babou, Sola, Tonderai, Anna, Hannah
Summary of discussion:
Culture/background can influence good theatre.
If race taken away – interesting to see what theatre would evolve.
Should use your power and race to influence and show/share with other cultures.
Negative connotations from word ‘race’ – should be acknowledged and reclaimed – ONE RACE
Black community uses ‘race’ as ownership on certain areas such as racism, etc. If race issue dissolved perhaps dissolve boundaries that dictate ‘silent’ rule of who can write/direct plays about what.
Need to understand that ‘race’ comes with historical context and that when dealing with it you need to empathise with that.
Theatre and race – 2 different elements. Theatre: relate. Race: abstract word used to oppress.
People can be ostracising and selfish with race and theatre – “You can’t do this subject because you’re not/are black”.
People can become selfish with ‘race’ or use the colour card because their stories haven’t been told.
Leverage – Yes sometimes there is leverage when you have more racial/cultural experience at your disposal.
Power – we all have it. We may not tap into it but it’s there.
Identity – that’s where you’re from as a person – YOU.
Leverage – In the black community you can get funding for being a ‘minority’ - perform during Black History Month, etc. No race issue, no funding?
Who attended the session: Babou, Sola, Tonderai, Anna, Hannah
Summary of discussion:
Culture/background can influence good theatre.
If race taken away – interesting to see what theatre would evolve.
Should use your power and race to influence and show/share with other cultures.
Negative connotations from word ‘race’ – should be acknowledged and reclaimed – ONE RACE
Black community uses ‘race’ as ownership on certain areas such as racism, etc. If race issue dissolved perhaps dissolve boundaries that dictate ‘silent’ rule of who can write/direct plays about what.
Need to understand that ‘race’ comes with historical context and that when dealing with it you need to empathise with that.
Theatre and race – 2 different elements. Theatre: relate. Race: abstract word used to oppress.
People can be ostracising and selfish with race and theatre – “You can’t do this subject because you’re not/are black”.
People can become selfish with ‘race’ or use the colour card because their stories haven’t been told.
Leverage – Yes sometimes there is leverage when you have more racial/cultural experience at your disposal.
Power – we all have it. We may not tap into it but it’s there.
Identity – that’s where you’re from as a person – YOU.
Leverage – In the black community you can get funding for being a ‘minority’ - perform during Black History Month, etc. No race issue, no funding?
What can we do about race in regional theatre?
Person who called the session: Faith
Who attended the session? Dan, Raymond, Tash, Jamie
Summary of discussion:
Hardly anyone came to this session.
Reflects attitude to regional theatre. Why? Are big black/other race communities across the U.K.
In ‘white’ areas should there be ‘black’ theatre?
Would it exoticise black people?
Should we allow predominantly rural communities to be ignorant to black culture?
More economic – cuts.
Directly proportional?
Regions should create initiatives themselves.
More diverse writing – not ‘black’ plays – represents and reflects.
Should theatre reflect the community it’s held in?
‘Ethnic’ plays cuts off (should be more mixed).
Assumption that less of an audience in regions. Too hard.
Who attended the session? Dan, Raymond, Tash, Jamie
Summary of discussion:
Hardly anyone came to this session.
Reflects attitude to regional theatre. Why? Are big black/other race communities across the U.K.
In ‘white’ areas should there be ‘black’ theatre?
Would it exoticise black people?
Should we allow predominantly rural communities to be ignorant to black culture?
More economic – cuts.
Directly proportional?
Regions should create initiatives themselves.
More diverse writing – not ‘black’ plays – represents and reflects.
Should theatre reflect the community it’s held in?
‘Ethnic’ plays cuts off (should be more mixed).
Assumption that less of an audience in regions. Too hard.
Is funding based on race empowering or restrictive? It does matter… but how else will I get funding?
Session Title:
3. Is funding based on race empowering or restrictive?
9. It does matter… but how else will I get funding ?
Person who called the session?
Ain, Alex
Summary of discussion:
Arts Council ratio of minority finding to its overall funding is very low.
When does race become destructive and not necessary?
3. Is funding based on race empowering or restrictive?
9. It does matter… but how else will I get funding ?
Person who called the session?
Ain, Alex
Summary of discussion:
Arts Council ratio of minority finding to its overall funding is very low.
When does race become destructive and not necessary?
Practical Strategies - Equal Opportunities
Session Title(s):
Practical Strategies – Equal opportunities
List of Actions
How to measure when progress has been made
National Demographic quotas (contract compliance)
Withdraw from Eurocentric classical canon
Person who called the session:
Tyrone, David Tse, Ade Solanke
Who attended the session?
Brenda Garrick, Ailin Conant, Liz Chan, Chika Unaka, Tyrone, David Tse, Ade Solanke, Ian Rimington
Summary of discussion:
• Every producing theatre to have one commission of a BME written play
• Theatre should reflect the area that it is based – problem may ‘ghettoise’ the production.
• Need to reflect national demographic.
• National Arts policy
• The onus should be on us as BME artists to make changes.
• Casting policy needs to change across the board.
• Boycott of the classic plays older than 50 years.
• Want to see at least two shows a year directed by a BME person.
• BME people running theatres.
• Colour blind casting, with the actors chosen because of their ability.
• Must have demographic quotas, to address the issue of lack of BME actors on stage (In Arts Council policy)
Practical Strategies – Equal opportunities
List of Actions
How to measure when progress has been made
National Demographic quotas (contract compliance)
Withdraw from Eurocentric classical canon
Person who called the session:
Tyrone, David Tse, Ade Solanke
Who attended the session?
Brenda Garrick, Ailin Conant, Liz Chan, Chika Unaka, Tyrone, David Tse, Ade Solanke, Ian Rimington
Summary of discussion:
• Every producing theatre to have one commission of a BME written play
• Theatre should reflect the area that it is based – problem may ‘ghettoise’ the production.
• Need to reflect national demographic.
• National Arts policy
• The onus should be on us as BME artists to make changes.
• Casting policy needs to change across the board.
• Boycott of the classic plays older than 50 years.
• Want to see at least two shows a year directed by a BME person.
• BME people running theatres.
• Colour blind casting, with the actors chosen because of their ability.
• Must have demographic quotas, to address the issue of lack of BME actors on stage (In Arts Council policy)
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