Community Commissioning in Balsall Heath

We had a fantastic meeting last night where the Balsall Heath community commissioning panel got together to consider proposals for arts and cultural projects in the neighbourhood and decide which to fund.

This meeting was the culmination of two months of running around by Arshad, who has been working closely with all the subgroups since the panel was formally brought together in early January, to help them take ideas and form them into deliverable projects. The main outcome of the meeting is that all of the projects proposed were approved by the panel (subject to some negotiation over details in one or two cases):

• Beginner’s pottery sessions in the Sun Dragon Studio
• West Indian debating society and events
• Football tournament and CV checking sessions for 16-22 year olds
• An oral history ten years on from the Balsall Heath tornado
• Museum visits in London, including the V&A
• Balsall Heath Heroes campaign
• Residential trip to the Lake District including photography and sculpture
• Balsall Eat food festival

Now that the projects and the budgets have been agreed, the next stage is for panel members to actually make these events happen. Some will be fairly straightforward, working with existing cultural intermediaries in Balsall Heath and Birmingham to deliver the projects, with panel members determining how the projects should run and who is targeted. Others will involve more work from the panel members to shape and organise the activities. The debating society is exceedingly exciting in this regard as panel members will be putting together their own schedule of talks and activities.

Of course this brings up lots of questions about new skills to be learned. None of the panel members who presented project proposals last night had ever done anything like this before – pitching their ideas to a group of people. The presenters did a great job and it was a really supportive environment, with lots of enthusiasm for the ideas, even where other panel members had questions about aspects of what was being proposed. As the projects develop there’ll be other new skills people will need to pick up such as organising publicity, managing a budget and thinking about how the projects’ success will be evaluated. This brings interesting comparisons to what Birmingham City Council have been doing in their cultural co-commissioning pilot where a lot of the energy of the intermediaries involved has been on upskilling the communities being worked with – the kind of work that organisations like Reel Access and individuals like Matt Daniels have been doing for years. It will be really interesting to compare our approaches as we go through this phase of the research.

It’s going to be a busy few months, but we’ve got a great team of people working on the projects, so I’m more excited than scared about how things are going to go.

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What happened to the community art?

Tags

Art, Balsall Heath, Birmingham, cities, Creativity, Cultural Intermediation, Engagement, Participatory, Salford

Warwick University will be hosting an International Symposium on 17-18 September 2015 entitled ‘Amateur Creativity: Inter-disciplinary Perspectives’.

I’m presenting a paper at this event that emerges from the work with communities in Birmingham and Salford entitled:

‘A gallery of the gutter? What becomes of amateur art and artists?’

Here’s the abstract:

Over the last two decades, UK cultural policy has authorized an army of cultural intermediaries to work with ‘communities’. Amongst their many aims, they have sought to engage the ‘hard to reach’ as participants in the cultural ecology, both as consumers and potential producers. Thus, professionals have engaged communities to share in the production of creative projects and to develop their own voices and aesthetic responses to the world. As as a result of the nurturing of amateur skills and aesthetic ideas, community spaces boast exhibitions of the work of local people or their ideas and efforts adorn public places, evidence for instance of consultation processes as part of regeneration projects.

This presentation seeks to consider amateur production as part of cultural intermediation derived from research conducted as part of the AHRC-funded work in the inner cities of Birmingham and Salford. ‘Cultural intermediation & the creative economy’ has itself involved community members in co-production of research and, at the time of writing, in the commissioning of cultural work. In this latter process, community members are enlisted to form commissioning panels that produced organic cultural policy that might engage artists to develop work based on a remit formulated at grassroots level.

This paper reflects on these processes of intermediation, by both artist and social scientists. I ask: what are the dynamics of the relations of amateur and professional are articulated in such encounters? What ideas of culture, aesthetics, value and indeed engagement emerge? Above all, what happens to the work and indeed to the participants – the amateurs – engaged by such projects once they are completed?

The gestation of this particular paper and approach came in a tour of Salford I took a while ago in the company of Beth Perry of SURF. We came across a redevelopment site surrounded and partly concealed by the large white chipboards that are now de rigeur in such instances. This shield was also extensively decorated with reproductions of artworks produced by members of the local community. I think they conveyed ideas and desires for community improvements.

This site got us talking about such initiatives which are now quite familiar means of decorating urban disruptions which might represent, variously: a means of genuine engagement, distraction or concealment perhaps. My concern was, and is, with the question of what happens to the work solicited from and produced by community members and displayed in such public galleries? While galleries such as the one we encountered in Salford are made up of reproductions, the question applies to these examples as well as any originals.

Here are some images of a project I went to see today in Birmingham. In this instance, the work of school children has been commissioned by the construction company BAM and used to decorate one of its building sites.

My title here is not a judgment of the work itself but a result of suspicion is that it is often (although not always) discarded, so affirming the distinction of the amateur and professional. After all, the work of the professional gets preserved in the portfolio, exhibited in the official gallery or purchased by the collector.

In developing the paper, I thought I’d try to survey and capture as many instances of such public galleries as possible. In order to do this I could do with a little help in identifying examples and in getting hold of images and information about their dimensions. Readers of this blog might be able to help therefore by posting responses here or by emailing me materials directly at paul.long@bcu.ac.uk.