MANCHESTER 201423 - 28 JUNE

Final report

Samuel Rodger and In Place of War

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EMERGENCIAIn June 2014, Emergēncia UK gathered together artists, activists, academics and a range of other creative practitioners to Manchester to explore the challenges faced in environments of conflict, revolution and emergency and to unpack the power of artistic endeavour to effect real social and political change. Over the course of the conference, the delegates were invited to think freely about the challenges they faced in their everyday working lives and about what they would like to see change in the world around them.

In Place of War (IPOW), responsible for organising the conference, supports artists and creative communities living in sites of war, revolution and conflict to build powerful networks, create social change through creativity and demonstrate the value of the arts to public space, public life and public debate. Based at The University of Manchester, IPOW have been working with international creative communities for ten years. Work is spread across five core areas: Platform, Research, Education, Spaces and Production.

The five day event formed part of a series of Network Global Meetings founded by In Place of War’s Brazilian partners, Fora do Eixo. The Emergēncia series considers emergency in both meanings of the word. Urgency, from the need for immediate action in response to systemic crisis; and emergence, from the rise of a new social, political, economic and cultural context in the age of network society and digital connectivity.

This is a line of enquiry that fits neatly with the IPOW ideology of ‘doing it together’. The network that we have engaged with over the past ten years are all variously engaged in these ‘crisis’ contexts and have all sought to benefit through coming together and learning from one another’s perspectives. The network has been grown through a series of projects over the years, taking in a number of different missions and focusses, but all under a belief in collaboration and experiential exchange.

Emergēncia holds at its centre a goal of free and open discussion, taking the form of a culture lab allowing the organic development of solutions to often widely shared problems. By inviting participants from five continents, In Place of War sought to explore the challenges faced by practitioners across the world in variously peaceful and war torn countries. Delegates working in Egypt, Palestine, India, Lebanon, the DRC, the USA, Italy, Bosnia, the UK, Zimbabwe and Brazil brought their personal experiences

and challenges to the table in a series of discussions that sought to explore a wide array of emergent and contentious issues. Centered around topics of artistic creation, the power of culture, and the rise of digital interconnectivity, Emergēncia cast a wide net to take full advantage of the combined experience of its invitees.

In developing Emergēncia, In Place of War looked at the gaps between communities. Between practice and research communities, between art and activist communities, between social projects and tech projects, between charity and business; and at the internal fissures within these disparate communities. In doing so, IPOW sought to explore the power of experience and exchange between people from vastly different backgrounds. What may be an insurmountable barrier for a cultural producer in Zimbabwe, for example, may have been overcome long ago by a similar group in India. By filling a room with talented, experienced and inspirational people, Emergēncia looked to allow for a knowledge transfer that could not only solve problems, but also inspire and enflame the attendees, spawning new collaboration and ideas.

The discussions in the conference centered on five clusters. Creativity in conflict; representation and subjectivity in war; the gap between real world activism and digital activism; the power and limitations of networks; and the role of arts activism in driving social and political change. By casting a wide net, the discussion topics sought to allow for an open framework where nothing was off the table and all ideas could be aired and considered.

The resulting conversations were eye-opening and gave voice to a universal desire to learn about and understand the lives and experience of others, in order to apply it to the world we live in. As a result, the opportunities for collaboration and ongoing research are abundant and Emergēncia looks to be only the beginning of a wide-reaching and long-lasting network.

CONTENTS INTRO.................................................................................PG. 3

ATTENDEES........................................................................PG. 4

MANCHESTER....................................................................PG. 7

CHALLENGES.....................................................................PG. 8

METHODOLOGY................................................................PG.13

DISCUSSIONS...................................................................PG. 14

FINDINGS..........................................................................PG. 23

CONCLUSIONS.................................................................PG. 27

CALL TO ACTION..............................................................PG. 30

PROJECT PROPOSAL.......................................................PG. 31

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In preparing for Emergēncia, In Place of War drew heavily on their existing networks for invitees but also looked to make new connections. The conference coincided with the Anna Lindh Foundation’s annual meeting, this year entitled ‘The Art of Dialogue’. The Anna Lindh Foundation is an inter-governmental institution bringing together civil society and citizens across the Mediterranean to build trust and improve mutual understanding. By linking up with the Anna Lindh Foundation, Emergēncia allowed these two structurally different, but ideologically similar, networks to intermingle, enhancing the opportunities for collaborative discussion.

The eventual attendees came from IPOWs international and UK networks and come from a range of backgrounds and professional disciplines:

Mary Ann De Vlieg | freeDimensional | USA

Mary Ann DeVlieg joined freeDimensional in Autumn 2013 responsible for strategic organisational development and executive tasks. Mary Ann (aka “M.A.”) was for 18 years Secretary General of IETM, a 600-organisation/60-country strong professional network for contemporary performing arts.

Laurent Kasindi | Search for Common Ground | DRC

Laurent Kasindi is the Project Manager at Search For Common Ground’s DRCongo branch. He has worked with In Place of War for a number of years, with James Thompson, and recently hosted our Ariadne project team in Rwanda during

their visit to explore female theatremakers in the region.

Chérine Karam | AltCity | Lebanon

Chérine is an art curator and organiser based in Beirut and partners with AltCity on a range of projects, including our upcoming events at Beirut next week. She is also Exhibition Coordinator at American University of Beirut.

Sam Bower | Green Musuem | USA

Sam is Executive Director of Green Museum and key member of Casa De Paz in Oakland California.

Farai Monro | Magamba | Zimbabwe

Farai (aka Comrade Fatso) is a performer and one of the founders of the Magamba network with Tongai Leslie Makawa (aka Outspoken). Magamba Cultural Activist Network runs a plethora of projects which focus on giving young people in and around Zimbabwe’s capital city, Harare, spaces for free expression. The group are also responsible for Shoko festival, one of Africa’s fastest growing events.

Claudio Prado | Fora do Eixo | Brazil

Claudio Prado is a key member of Fora do Eixo , a socio-cultural network that conects more than 2,000 agents, 27 Brazilian states and 10 countries in Latin America. Over the last 6 years, Fora do Eixo has been developing innovative

social and management technologies in the economics of culture, through practices such as solidarity economy, free communication and sharing free knowledge.

ATTENDEESVijay Nair | Only Much Louder | India

Vijay Nair is the Founder and CEO of Only Much Louder (OML). He embarked on his music career at an early age managing Indian acts. What started as a hobby became a business venture when he founded Only Much Louder, the first artist management company for indie bands in India.

Edward Muallem | Ashtar Theatre | Gaza

ASHTAR Theatre was established in Jerusalem in 1991 as a non-profit organization by two prominent Palestinian actors, Edward Muallem and Iman Aoun, who worked in theatre since 1977. It is a dynamic local Palestinian theatre with a

truly progressive global perspective. ASHTAR specializes in Forum Theatre to promote a more active dialogue and commitment for change within society.

Amin Khosravi | Kamideas | Switzerland

Amin is Director of Kamideas, a creative consultancy that takes a human-centered and strategic approach to providing ideas and solutions relevant to the future of urban areas. Very interested in the intersection between cities, human behaviour, culture, design, history, economy and technology, Amin has a particular focus on the themes of social sustainability, diversity, heritage, conflict resolution, identity and social entrepreneurship.

Rasha Shaheen | Highlight Arts | UK

Rasha Shaheen is a musician, educator and event and tour manager. She is a lecturer at Kent University and at the Brighton Institute of Modern Music. She has a Masters in Songwriting and is the Ensemble Leader for the Remix Youth

Ensemble in Bristol. She has been leading youth music projects for The Bristol Music Trust for over ten years and has toured with many touring bands as a performer and tour manager in Europe and The USA since 1997. Her position with Highlight Arts started in 2013 where she curated the music for Reel Iraq, a festival that collaborates with artists working

in areas in conflict to celebrate diversity, build solidarity and create dialogue with audiences internationally.

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UK DELEGATES

Kenny Washington | Geneva Global

Alison Surtees | IPOW/Manchester District Music Archive

Sharon Dean | Respect Music

Simon Parry | University of Manchester

Susan O’Shea | University of Manchester

Barney Francis | Upper Space

Beth Perry | Salford University

Jude Jagger | Contact Theatre

Emanuel Ferrandez | IPOW

IN PLACE OF WAR TEAM

James Thompson | Founder and Co-director

Ruth Daniel | Co-director

Ines Soria-Donlan | Digital Manager

Sam Rodger | Research Assistant

Lucy Wallace

Teresa Bean

UNABLE TO ATTEND

Jeihcco/El Perro | Hip Hop Collective | Colombia

Ramy el Fass | 15/3 Studios | Egypt

Piki Figueroa | Tiuna el Fuerte | Venezuela

Jenton Zeziraj | Quendra Multimedia Centre | Kosovo

Dan Glass | The Glass is Half Full/Plane Stupid | Germany/UK

Ivana Bentes | Federal University of Rio | Brazil

Jennifer Pickering | LEAF Festival I USA

VOLUNTEERS

Nancy Dent

Jozef Chlebik

Alex Griffiths

Jess Reid

Naomi Mabita

Naomi Gabriel

Hayley Norton

MANCHESTER

Manchester, the home of In Place of War, also proved an ideal location for the Emergēncia conference. With its vast variety of cultural organisations and one of the largest and most vibrant academic communities in Europe, the opportunities for collaboration and cultural exchange were many and Emergēncia sought to exploit them wherever possible. The week’s schedule took the attendees to a different venue each day in order to give our international delegates a taste of the city and a chance to explore some of Manchester’s cultural spaces. The spaces visited were:

MadLab | The Manchester Digital Laboratory, throwing itself open to geeks, artists, designers, illustrators, hackers, innovators and idle dreamers. A versatile cultural space available to a variety of creative and digital practitioners, MadLab has a variety of interesting and useful spaces and believes in confirming Manchester’s rightful place as ‘the home of techincal and creative innovation and invention in the North West and beyond’.

Z-Arts | A creative space for young people with a priority on providing participatory activity. Situated in the oldest building in Hulme, Z-Arts offers theatre venue, dance studios, gallery space, recording studios, rehearsal space, workshops and office space. Z-Arts is also the centre of an outreach programme delivering activities to schools and communities across Greater Manchester and the North West.

Contact Theatre | A dynamic charity based in Manchester, with a focus on young people. The theatre was purpose built and features several versatile theatre spaces as well as rehearsal rooms, music studios and club venue. Contact’s vision is of a world where young people are empowered by creativity to become leaders in both the arts and their communities.

Imperial War Museum North | The youngest of IWM’s five branches, IWM North is the first outside the south-east of England. The museum boasts an impressive collection of artefacts and testimonies from 20th century war and conflict. The museum is housed in an iconic Libeskind designed building, based on the concept of a world shattered by conflict.

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CHALLENGES

Before Emergēncia, we gave our activators the chance to send us the details of challenges they had faced in their personal or professional work, with the intention of presenting these challenges to those collected together during the week. The aim was to find out if challenges were a matter of perspective and if, by utilising the combined knowledge of a network, we might find solutions to our problems that had never occurred to us. Perhaps the very thing that has caused a project to stall in one instance, is a problem already solved by an organisation on the other side of the world.

During the week, we asked those who had been selected to present their challenges to the collective. We then allowed opportunities during the week for contributors - both international and UK delegates - to offer their opinions and suggest solutions to the problems. The challenges, and the solutions offered, are summarised below;

Cherene Karam | AltCity, Beirut

Challenge

Cherene from AltCity in Lebanon presented Emergēncia with the problem related to AltCity’s startup bootcamp. She writes:

Our biggest challenge is to figure out how to develop a startup program around the production of creative startups and creative content (podcasts, be series etc.) that would have the potential to grow, go viral, gain visibility, and be profitable. How to ensure the longevity and success of the program, and the companies that are a part of it? How is it possible to make the creative sector as competitive as the tech sector?

Our objective is to contribute to building good sustainable businesses in the creative sector, and helping Lebanese creative startups be more competitive and scalable on a global stage. This is critical to increase job opportunities

Wish list of solutions

Cherene and AltCIty are looking for three main things in response to this challenge, all geared towards increasing the startup success rate.

• Knowledge (advisors, trainers, etc.)• In-kind support (digital or physical products, participation in international events)• Financial support

Solutions

When offered out to the Emergēncia delegation, the following solutions were offered to to AltCity’s challenge:

• ‘Link into In Place of War Creative Entrepreneurial Programme to get different perspectives from various creative entrepreneurs’

• ‘Are there not examples of successful creative incubators from the north and south to learn from? Kenya? UK?’• ‘I’d consider alternative economic models as well within the entrepreneurial space’• ‘Sharing’• ‘Gift ecology networks - see servicespace.org for lots of interesting discussions. ‘• ‘local currencies’• ‘building capacity to address needs without conventional currency (many war zones have lots of experience with this -

can it be developed to work better and build greater resilience in vulnerable areas?)’

Amin Khosravi | Kamideas Amin presented Emergēncia with challenges of influence and provocation. The challenge is:

To find innovative means of capturing and provoking the attention of political and economic decision makers/influencers through art and creative expression in ways that enhance their perspectives on important issues and stories from around the world.

The objective is:

• to initially focus on a community that experiences the City of Geneva, an international centre for diplomacy, development, and finance. Housing more international organisations than any other city in the world and with a population of less than 500 thousand, the concentration of influential people and decision makers with international reach is unique;

• to emotionally connect influencers/decision makers with the human and local context to issues;• to bring different perspectives to global issues and local issues of multinational interest and encourage multi-perspective

thinking for problemsolving;• to have global impact for change and action.

Wish list of solutions

• Innovative ideas on how to attract attention, provoke reaction, enhance perspectives for an audience that is accustomed to bureaucratic procedures, technical linguistics and desensitisation to communication through art.

• Ideas for the audience interaction design.• Ideas for cultural content.• Development of international partnerships.

Solutions

When presented to the Emergēncia delegation, the following solutions were offered to to Amin’s challenge:

• ‘let them (a department or political group) choose from a menu of projects - which one they want to show, where and how. Have them defend their choice’

• ‘explore non-traditional media - food, small toys, planting events, work tools etc as art that might also reflect themes discussed. How could these then amplify the messages or themes explored in a photo exhibit or similar venue-specific installation? Can music/poetry also be folded in so it’s not just one form of media or artist?’

• ‘one idea could be dealing with a specific idea/policy that you want to change, knowing the policy maker that has the power to change the policy, and creating a personal piece of art that is directed towards them. Since we are ever bombarded with information and there is an abundance of good quality art in Geneva, creating a personal piece may have more impact.’

• ‘worth looking at: Sarajevo Film Festival - the power of costume and exclusivity.’

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Samm Farai Monro | Magamba Network

Samm presented Emergēncia with a challenge to create a cultural hub for the youth of Zimbabwe:

Zimbabwe’s young people are suffering under a severe political and economic crisis. Our organization, Magamba, aims to deal with this by launching The Hive, a vibrant creative hub in the city that will bring together the new media community, young artists, the tech community and youth activist initiatives. It is aimed for The Hive to be a vibrant space of culture, new media, activism and technological innovation that engages young people, opens up democratic space and promotes creative entrepreneurialism.

The challenge for us is on the one hand to fundraise the resources to acquire and run the space. On the other hand, a key challenge is to make sure that the venue is sustainable and income generating while also being a key driver of revolutionary social change.

• The objective is to: • Empower new media activists and citizen journalists with skills and resources• Empower artists through skills trainings• Train a new generation of creatives and young entrepreneurs• Create employment for young people while growing the Zimbabwean creative economy • Open up democratic space through youth engagement

Wish list of solutions

• Finding the resources to establish and run the creative hub• Developing a long term business plan• Ensuring community involvement in the project• Building networks with global creative hubs to share knowledge and skills• Making sure the space is a key driver of revolutionary social change.

Solutions

The following solution was offered to Samm’s challenge by the Emergēncia delegation:

• ‘I wonder if alliances with other Hive/Hub type spaces could cross-pollinate and support each other. A network that could host and share content and possible artists/art. Funding might therefore be available internationally for exchange as well. Common themes and challenges approached collaboratively, collectively, etc.’

Mary Ann De Vlieg | freeDimensional

Mary Ann brought Emergēncia a challenge of motivation and momentum:

Finding, training and keeping volunteer case consultants motivated and able to interview, advise and support artists threatened by violent religious, social or political repression in their countries.

The objective is to eventually have an informal but trained and active network of case consultants in all global regions where artists and culture workers are at risk.

We are working together with New Tactics for Democracy, towards a set of on-line interactive tools such as phone-ins, shared on-line files, on-line training support. But - what to do when our colleagues don’t have good internet access or fear reprisals themselves?

Wish list of solutions

Besides a big grant? ;-) Looking for like-minded people and groups who care about this and can join us. We have started cross-sector artists safety networks’ to be formed in Mexico, Central America and hopefully soon in East Africa.

Solutions

These were the solutions offered to Mary Ann’s challenge by the activators at Emergēncia:

• ‘Have you looked at MOODLE for online learning - it’s one of several MOOCS. Good for training and can give you shared space - group walls etc for exchange. Also Google + hangouts are useful for free online group work space.’

• ‘Make the cause a higher profile proposition with a public face to get support around your consultants.’I wonder if there might be some synergy with groups like Christian Peacemakers (who aren’t all Christian) who travel to places of conflict and support activists and people working towards peace.’

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Sam Bower | Green Museum

Sam Bower presented the Emergēncia conference with a challenge of personal balance and compromise:

I believe that the current industrial growth mindset and lifestyle is leading our species and many others toward the likely possibility of near-term extinction. I am committed to “being the change” and living a low ecological footprint lifestyle as well as doing what I can to share my perspectives on what a more life-affirming culture might look like. My desire to occasionally participate in conferences, evaluate grant applications for Foundations or Government agencies or consult with organizations which are taking very slow and piecemeal approaches to these issues often conflicts with my values, my sense of the urgency involved and my view that creating a more resilient culture is more important than art. How can I stay engaged and still live according to my values? i.e.: reduce use of fossil fuels, minimize reliance on environmentally damaging technologies (including computers, cellphones, etc.), encourage a systems approach to culture - not a focus on individual artists and their individual projects, etc. AND not isolate myself from the individuals and organizations who want me to participate and where I could be of service.

Wish list of solutions

I’d like to be able to best use the opportunities I have within dominant cultural systems selectively to offer others the greatest value and impact.

I’d like to inspire through example and enlist others in supporting and exploring this way of life for themselves.While relying minimally on technology, I’d like to create a network of support and connect with other people exploring similar issues and challenges internationally, especially people from Industrialized contexts trying to live simply as well as First Nations people dedicated to maintaining traditional cultural values which support resilience and resisting the pressures to embrace the industrial growth models of development.

Despite the best efforts and combined minds of the Emergēncia delegation, there were no solutions forthcoming to Sam Bower’s challenge. That being said, the challenge still remains and solutions are still more than welcome.

METHODOLOGYThe Emergēncia programme had, at its heart, a two-pronged goal. The first was simply to facilitate the bringing together of a group of artists, activists, academics and cultural producers, in order to consolidate In Place Of War’s existing network, whilst expanding outwards in terms of people, organisations and ideological scope. Part of this first process was the introduction of Manchester and some of its most engaging and progressive cultural spaces, to practitioners around the world. By inviting the delegates to speak in some of Manchester’s cultural spaces, we were able to use the environment as a spark for discussion, allow the attendees the chance to see the cultural ecosystem of a UK city, and to allow comparisons to their own work and projects around the world.

The second tier of the project, and the heart of the week’s schedule, was the culture labs. These revolved around several discussion topics, carefully selected by the IPOW team to drive discussion over a wide range of topics. The aim of these discussions was to identify the gaps between areas of practice and research and between active practicing communities. The idea of the culture labs was to bring together an interdisciplinary group of great and exciting minds, to turn their thoughts on to a particular area or problem, and find out whether, by application of disparate perspectives and experience, we might find new opportunities for research, creativity and social engagement.

At the centre of this aim was the intention to put together a funding bid, drawing on the relative skills and interest of the conferences attendees and, if the labs were sufficiently fruitful, expanding upon opportunities identified and explored over the course of the week. As a secondary goal, In Place of War looked to use these labs as a tool to explore its own role within this growing network. Over the past ten years, In Place of War has served many different functions- a research organisation, an online platform, an organiser of cultural events to name but a few.

The main challenge in devising these discussion topics was striking a balance between open-ended, organic conversation, and focused, idea-generating discussion. On the one hand, the conversations ought to be unguided, in order that the eventual ideas be influenced organically, more by the experiences of the delegates than by In Place of War. On the other hand, the fear was that, not focused enough, the conference would become diffuse and incohesive, failing to leave delegates feeling enriched by the experience.

The eventual solution was the development of discussion topics on a wide range of disciplines - covering conflict, art, digital media, activism, protest, journalism - whilst examining the power and value of networks and education in tying these disparate streams together. The resulting topics were divided into seventeen individual discussions under five umbrella groups.

Each discussion had a structure, but one that the delegates were invited to break out of. Each group was given a prompt to stimulate discussion which was no more than a paragraph of introduction to their topic. Furthermore, each group was given a challenge as an attempt to draw immediate tangible outputs, but also as a way to test and put strain upon the discussions. The challenges ranged from relatively simple, to very difficult. The intention was to drive the attendees to think in terms of actions and potential projects, rather than simply discussing these areas in theoretical terms.

The delegates were invited to select which group they would like to join, rather than having a topic forced upon them. This allowed people to go where they felt their experience was most relevant, or otherwise where they felt they stood to learn the most.

Each group worked with a facilitator, drawn either from the IPOW team, or from amongst the delegates. The role of the facilitator was not to lead a session, but to mediate and enhance the discussion. Selected for their backgrounds or stated interests, the facilitators were assigned a topic ahead of time and invited to consider it before the conference, in order to avoid stagnation during conversation.

The resulting conversations were dynamic and unpredictable but ultimately fruitful.

DISCUSSION TOPICSThe eventual discussion topics fell under the following headings.

• Low bandwidth - creativity in the face of limited connectivity

• War and the exotic - representation and subjectivity in war art

• The digital gulf - is there a gap between online activism and real world activism

• Network in progress - the power and possibilities of network

• Activating populations- the various powers of art and activism to galvanise a people

Below is a sample of the discussion outcomes -

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CULTURAL SPACE

Attending - Josef Chlebik Edward MuallemAmin KhosraviInes Soria-Donlan

Outcomes - No one eventual outcome - discussions revolved around the challenges of creating a social centre/culture hub.

• Don’t be specific about the space - should be multidiscaplinary - studio, venue, office, bar, conference room, cafe, newsroom etc

• Neutral and safe, free and unihibited• A meeting place as well as a cultural space - make it a part of the community• Should be designed and maintained by consensus• Publicly owned

Conflict - what type of space should it be? should the space be owned or occupied/squatted?

Concord - the space should be free, the activities mixed and community owned.

Discussion points -

Findings - That we need to suit a space to its surroundings and that the key is not to be prescriptive - the space is what you make of it and what the community makes of it. You can’t just come in from the outside and impose yourself upon a culture. The space needs to be homegrown. There is also an arguments that an algorithm might be possible that could apply the basics of a cultural space to a variety of social contexts.

ALTCITY RISKS OFOVERPOLITICISATION

PALESTINE

DRCREFUGEE CAMPS

CANNOT BE TOOPRESCRIPTIVE

BUSINESS AS WELL AS CREATIVITY

WAR ART AND EXOTICISM

Attending - Josef Chlebik Rasha Shaheen Edward Muallem Emanuel FernandezMary Ann De Vlieg Sam Bower Cherene Karem

Outcomes - The group identified the Arab graffiti artist as an exoticised figure, at risk due to the visibility of the art. Often illegal but exercising the right of self expression in public spaces. People are drawn to the novelty of the art form. Usually seen as subversive and political.

• Can exoticism be avoided where there is a inherent desire to identify oneself in contrast to ‘the other’. • Some artists will choose to be labelled as a ‘war artist’ as this is a priority for them. • Can it be the images, more than the artist, who are exoticised? • Representation: there is a need to contextualise the work and the artist. This context may be war but the artist needs to

be considered across many categories. • Commodification of resistance, commodification of resistance. • Examples of images: Keffieh The Che-Guevara T-Shirt Tony Blair image (Kennard Phillips)

Discussion points -

Findings - It is important to consider whether or not an artist wants to be identified as a war artist. Do not deny the artist agency in self-identification. There is a need to contextualise art and artists to avoid commodification.

TRUST

IRAQI MINORITIES

THEATREOF THE OPPRESSED

JAPANESE PERFORMANCE ART

GAY RIGHTS

ART AS A TOOL FOR CHANGE

FORCED MARRIAGE IN PALESTINE

IS ART MORE IMPORTANT THAN MATHS OR ENGLISH?

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SUBJECTS AND THE SUBJECTED

Attending - Josef Chlebik Sam BowerRasha Shaheen Susa O’Shea

Outcomes - Ways to include a subject in the artistic process:

• Self-selecting engagement - open invitations for participation• Artist is just a stakeholder in creative process and needs to support larger context. • Continue relationships with subjects beyond the “end” of a project - think about aftercare. • Informed consent from subject - but also give voice to those who object. Acknowledge the people who refuse to be

involved. Acknowledge resistance. • Important that artists are not working on their own

Concord - consent, subject agreement, full engagement, artists not working on their own.

Discussion points -

Findings - Engagement between artist and subject is key. Self-engagement is the ideal scenario. Can consent ever really be informed?

SELF-SELCTING ENGAGEMENT

WALLS

THE TROUBLES

ENSURING AFTERCARE

THIS IS WHAT FEMINISTS LOOK LIKE

THE MEDIA LACKS IMMEDIACY

BRANDINGCONFLICT

THE IMPORTANCE OF DIALOGUE

CAN CONSENT BE TRULY INFORMED?

MENTAL HEALTH

CREATIVE CHANGE

Attending - Josef Chlebik Vijay NairRasha Shaheen Others

Outcomes - Devise a cultural program to foster creativity and promote social and political change.

• Creativity within curriculums.• UN of culture. • Art education.• Overlap different subjects with creativity.

Conflict - The idea that an artist is supported by the conflict.

Concord - Must start from a young age, need to interact worldwide. Cannot just be flash in the pan, short term, change.

Discussion points -

Findings - The international unity of artists is desirable and possible. The problem is that people are too busy competing over funding opportunities and can’t work together because no structures exist that would encourage this kind of work, despite people’s best intentions.

BUILDING CAPACITY FORCULTURAL RESILIENCE

CONSIDERING CULTURAL PERSPECTIVES

UN OF CULTURE

BRUSSELS DANCESCHOOL

FORMERYUGOSLAVIA

SOCIETY AND CULTUREINTERWOVEN

SYRIA SPEAKS

HOW TOAMPLIFYA MESSAGE

HIGH LEVEL POLICIES SHOULD BE WIDE REACHING

GAZA MONOLOGUES

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DIGITAL MOBILITYAttending - Sam RodgerAlison Surtees Emmanuel Fernandez

Outcomes - Systems for encouraging or enabling artist mobility: • Crowdfunding system for specific arts/activist projects.• Translation service done on a project by project basis. • Use IPOW platform as an Air BnB service. • Art for accommodation exchange - encourage people to create in exchange for something tangible like short term

shelter. • Use digital mobility as a precursor to physical mobility. Make connections.

Conflict - The idea that an artist is supported by the conflict.

Concord - Must start from a young age, need to interact worldwide. Cannot just be flash in the pan short term change.

Discussion points -

Findings - We can use the internet to activate the hive mind of individuals and put networks to real, day to day use. We can ape the techniques and tools and systems of big corporations and put them to good, socially responsble use. Using these systems would allow for actual physical mobility. Translation and interconnectivity as a form of mobility.

THE MAGIC OF PHYSICALINTERACTION

ECO-TOURISM

FINANCIAL AS WELL AS POLITICAL PROBLEM

MOBILITY AND CREATIVITY

ACCOMODATIONEXCHANGE

INFORMATION AGGREGATION

TRIBE WANTEDKICKSTARTER

YOUTUBE GENERATIONAttending - Lucy Wallace Alison SurteesKenny Washington Farai Munro Amin KhosraviEmanuel Ferrandez

Outcomes - How to get a message across in a small chunk of space or time. • People are all digital natives - they will become desensitised over time to different communication methods.• How do we use constantly fresh mechanisms to keep people engaged. • Satire and comedy can be good ways to be heard over the noise whilst also avoiding political trouble. • Message about young people based on the Humans of New York project - the way people feel about the world.• Encourage young people to do something with the skills they already have

Discussion points -

Findings - Spreading a message is about empowering people and allowing them a conduit through which to express themselves - Young Humans of the World. Internet tools used are specific to that country - is this a barrier to truly global intercommunication?

ZIMBABWE

‘THE RIPPLEEFFECT’

PERSPECTIVES

DARKNETCOMMUNICATION

WHATSAPP VSYOUTUBE

HOW TO GAIN TRACTION

KONY 2012

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CITIZEN JOURNALISTSAttending - Farai MonroLucy Wallace Claudio Prado Kenny Washington Sharon Dean

Outcomes - Is it possible to train citizen journalists? How would you do it? • Split opinion - it is possible to train, but also to overtrain

Getting started: • Do it and then improve upon it.• Develop a unique message.• Define your target demographic. • Paid promotion through social media.• Accountability and regulation - if industry does not self-regulate, the state will intervene. • Limited connectivity is an issue.

Overcoming limited access to resources:• Subscription model of distribution.• Festivals and events to generate money.• Advertising revenues. • Fora do Eixo model - sponsors for festivals.

Discussion points -

Findings - It’s not just about learning the skills - anyone can do that. The challenge is in becoming self-sufficient. You cannot kill the big organisations - they will only expand and diversify.

USAHIDI MAPPINGSOFTWARE

NEWPAPERS VSDIGITALDISTRIBUTION

BLOGGING REINVENTION OFJOURNALISM IN 21ST CENTURY

TRAINING VSSELF-TRAINING

LIMITED CONNECTIVITY

DIGITAL MIGRATTION

URL VS IRL

Attending- Alex Griffiths Rasha ShaheenAlison Surtees Emanuel FerrandezBarney Francis

Outcomes- • It should not be a case of one or the other. The digital and real worlds should work together to achieve shared goals.

‘frontline and online’.

Examples of change fuelled by social media• Ukraine- small protest in Midan Square, militant police, people exercised the right to protest. An example of self-

determination. • Arab spring - alternative platforms for communication identified to compete with state controlled internet.• Occupy• Brazil- fifa• Argentina - email campaign 2 million mobilized.

Discussion points -

Findings- The power to mobilize does not come from the internet or social media. It is more about facilitating self-determination.

EXPERTSVSUSERS

STORYTELLING

CAN WE FINDTRUTH ONLINE?WHO CREATES

CULTURE?

CROWDFUNDING

GLOBALCONNECTIVITY

ACTIVE ENGAGEMENT

DOMINANT LANGUAGES

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SCREENED OFF

Attending- Barney FrancisNancy DentVijay NairSharon DeanOthers

Outcomes- Think of a form of digital communication that may better reproduce the benefits of face-to-face communication. • There may be an incorrect assumption that face-to-face communication is better. • Technology is improving and the positives will outweigh the negatives. • Utilising digital media from a ‘grassroots perspective’ will encourage and compliment physical discussion and action. • Larger projects suffer because of over-reliance on technology for communication.• More people can be involved in discussions than ever before - this is not a bad thing, just a new form of communication. • Value systems are beginning to be created online - social systems constructed from the bottom up based on the workings

of digital communication. Self-worth, the image we project, status symbols etc.

Discussion points -

Findings- Value systems created online or under the yolk of technology are rooted in that system. Increasingly, people are growing up with technology and online interaction built in to their everyday communication and, by extension, in to the fabric of their lives.

TECHNOLOGY VS PHYSICALITY

TECHNOLOGY AS A ‘STRESS POSITION’

ANONYMITY

TECHNOLOGYAS A NORM

BARRIERS AND OPPORTUNITIES

THE INTERNET AS A CREATIVESPACE

GRASS ROOTSFEMINISM

FINDINGSThe discussion topics were met with a variety of responses. Some of the prompts proved the catalyst for a dynamic and compelling discussion, others were dismissed in favour of personal tales of hardship or endeavour from the discussion’s participants. The facilitators proved universally engaging and stimulating. Many of the discussions became so heated or engaging that bringing them to a close was difficult. In letting attendees decide for themselves which groups they would like to join for discussion, some of the sessions became unbalanced, with six or seven people in one group but only two in another. This in itself was a telling reflection of the interests of the room, and has helped to plot the areas in which gaps are perceived, and to identify those areas needing the most urgent attention. This method has also allowed us to focus the direction of the future bid to be developed according to the findings of the week.

Above all, the week discussions allowed us to see the value of varied cultural perspectives. Whilst many of us were well aware of the challenges presented in our own context, what was surprising, and enlightening, was the crossover between perspectives and experiences and the extent that we could learn from one another.

Below are some themes emerging from the discussion groups - areas that prompted particularly fruitful debate and findings that appeared most resonant with the attendees.

Space and Cultural Space

There seemed to be throughout the discussions, and throughout the wider week’s schedule, a consensus on the value of cultural space. It is more difficult, however, to pin down the essence of a cultural space, or to deduce what it is that makes a space into a cultural space. Much of the week’s meetings and events were hosted by Manchester’s ‘cultural spaces’: the Z Arts centre in Hulme, Contact Theatre, MadLab in the Northern Quarter, the Imperial War Museum. None of these establishments purport to be doing the same thing, and yet all fall under the vague umbrella term of ‘cultural space’.

We asked a group of our delegates to unpack the meaning of cultural space, and to attempt to deduce what it would take to create a cultural space from scratch. The discussion considered the risks of being over prescriptive about a space. The consensus was towards a multi-disciplinary space, undefined but versatile, for use by the community in any way they wish to use it. As such, the binding principles of a

cultural space were not the physicality of the building itself, but the ideology of those who administer (or simply work in) the space. Where Beirut’s AltCity acted as much as incubator for small business as it did a site of cultural activity, Sam Bower’s Casa De Paz was the heart of a community devoted to giftivism and reciprocity. What was interesting was the amount of crossover in what people thought defined a space: freedom, neutrality and safety.

It was also decided that a space cannot be purely a studio, or a theatre, or a dancehall, but must be, at its core, a meeting place. The ideal cultural space is one where a community can both physically and figuratively come together. By extension, a meeting place should be both designed and maintained by consensus, allowing the space to form around the people best placed to ensure that it meets their demands. The accord on this point led to discord amongst the discussions participants about ownership. Fora do Eixo’s Claudio Prado argued that space should not be owned, but simply occupied. Can a space truly be neutral if a member of the community has a financial investment in it? Or is it preferable for a community to “claim” a space for themselves?

This discussion, in its moments of agreement and disagreement, leads on to the conclusion that there is no linear formula for a cultural space. It is not the walls that make the space, but the people in it. The idea of designing a space in the abstract and then placing it into a community would fail to engage with that community. As a meeting place as well as a cultural hub, it must be adaptive and responsive. Many of the delgates attending Emergēncia had, between them, experience of working with cultural spaces across the world: Chérine Karam with Alt City, Sam Bower with Casa de Paz, and Claudio Prado with the Casa’s organised by Fora do Eixo. Many, notably Farai Monro and the Magamba network, are looking now to develop a space of their own. What seems universal about these spaces, is the way in which a successful space responds to the needs and desires of a community.

Despite the difference in the experiences of cultural space brought to the table by various delegates, there was a great deal of interest in one another’s spaces and in the spaces we used as venues. There was agreement that, by working together, we might be enhance our collective network of cultural spaces.

Networks

As with any meeting of a network, much time was spent in reflecting on the merits of, and challenges of, activating and maintaining a network effectively. Whilst all of the participants were quick to celebrate meeting face to face, many remained sceptical about the possibilities of keeping a network together when its members live thousands of miles

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apart. This problem cropped up time and time again across the course of the week, in the discussions and beyond.

The advantages of digital connectivity for maximising the potential of a network cannot be understated. Where international networks may once have been loose collectives who met once every year or two years, the delegates at Emergēncia could be, for the most part, in almost continuous digital contact with each other. In the digital mobility discussion, the participants produced several examples of digital ways to put a physical network to day to day work, as explored below. Many were quick to point out the fact that digital connection was no substitute for physical connection and discussions on how to make a network more visceral were frequent.

The Youtube generation group took exception to the title of their discussion and argued that, regardless of age, people are all ‘digital natives’ and that whatever the advances, we all become desensitised to the immediacy of new communication methods. As such, the pressure is on a network to find means to keep in touch by not only contacting one another but by engaging others along the way.

The same discussion group stumbled across the issues of limited connectivity facing networks. Whilst many people are digital natives, the digital infrastructure of different countries, especially those in conflict or suffering economically, may hold back their ability to communicate globally. As an example, Farai Monro, working with the Magamba Network in Zimbabwe explained that WhatsApp - an internet based instant messaging application - is used far more than YouTube in the distribution of videos and information. This means a more limited audience and one that cannot be easily monitored. Cultural and regional differences like this mean that some parts of the world are out of reach of the more mainstream digital networking processes. Not to mention parts of the world with no digital infrastructure at all.

The contrast between delegates’ experiences with technology and connectivity made for interesting discussions. Whilst for some the internet was an almost universal resource, for others it was practically non-existent. What was interesting was the different solutions that different groups had found to disseminate information in areas of reduced connectivity. Where Search for Common Ground have created a vast radio network, the Magamba network prioritise WhatsApp as a means of communication. The opportunities for experience and knowledge exchange that came to light in these discussions was an important outcome.

Community engagement.

Several of the discussions asked the delegates to consider the challenges of audience engagement and interaction. There seemed to be some agreement on the importance of building a followership, and putting that followership to use. Various attendees have experience of building an audience and maintaining support behind a cause or movement – and many had experienced first-hand the problems that go along with it.

In the false followers discussion, participants were asked to consider the disparity that exists between real world, physically engaged followers, and digital followers who arguably don’t have to invest any time or money in a cause in order to be considered a ‘follower’. This group were asked whether it was possible to demand more from a digital follower base and whether this was desirable. In the discussion, they warned against being too negative or cynical about online support, arguing that ‘all media is cooperative’ and that even if a follower does no more than click a button, it is an expression of support that has a real online currency.

Their solution to building support and consolidating followers was to think of it as a two-way process. We cannot simply take money from people, but have to give back. An important first step toward this goal is understanding who an audience is, by analysing data and understanding demographics. This is something that can be difficult, especially where, as with the Magamba network in Zimbabwe, much of the spread of information takes place through difficult to monitor platforms such as WhatsApp.

Funding as a barrier

Part of the impetus behind engaging more with followers or supporters of a project is often unavoidably financial. Sadly, but perhaps unsurprisingly, the issue of funding was never far beneath the surface where theoretical conversations crashed up against reality. Money, and the lack of money, is a continuous concern for many artists, activists and academics, and the toll that competitive funding structures have is not purely to the individual. Gaining support for your

project cannot just be a case of gaining ideological approval from a people; at some point notional support must become financial.

In the creative change discussion group, participants were asked to consider the power of cultural programmes to promote social and political change. The conversation frequently turned to the fact that organisations are too busy competing for limited funding to work towards a common goal. The participants agreed that international unity between artists was desirable – they put forward the outline of a UN of Culture – but it seemed to be an unrealistic dream. There is no simple solution to this problem and, in a largely capitalist world system, money will more often be won through competition than cooperation. It’s clear, however, that the genuine desire exists for a more considered and humanist system of funding distribution, putting genuine change ahead of political point-scoring.

In the theory and practice discussion group, participants discussed the difficulties in maintaining dialogue between academics and practitioners without immediately available funding opportunities. If, for example, a call for research proposals does not stipulate that cooperation will be a benefit, there is a disincentive for links to be made with practice communities. Once again, the desires of the participants to engage more fully and cooperate more widely are set against structures that do not reward or encourage cooperation.

Untapped digital potential.

An interesting line of discussion, particularly in the digital mobility group, was the potential for a series of web-based tools that could be integrated into a single online platform in order to aid creative practitioners and facilitate movement for under-resourced people and groups in difficult to reach areas. Many of these ideas played on concepts that already exist on the commercial web and take the power of the crowd as their starting point. These tools were thought up in response to the challenge of enhancing physical mobility through digital means.

One idea was a funding platform, based on the Kickstarter model, but aimed specifically at an arts-activist user group. Rather than posting ideas for a small business or product, users would post the brief for a project, highlighting the motive behind the project, the desired outcomes and - most importantly - the money and resources they require to make the project a reality. Those visiting the site would then be able to make an investment, no matter how large or small, either of a purely financial nature or, where possible, a donation of physical resources. As projects gain interest, they could be highlighted on the site to ensure that the more popular and engaging projects get maximum exposure and have a greater chance to succeed.

A second recommendation borne out of the digital mobility discussion also took its inspiration from a successful commercial website. A platform in the style of Airbnb through which members could list their spaces, either for accommodation or studio space, for artists working on a project abroad or gaining experience of the wider world. Users could be encouraged to post details of the projects they are working on, with the added benefit of making professional connections in the cities and countries they visit. This idea fits in with the work of both Fora do Eixo with their casas, and with the work that freeDimensional do with artists around the world.

These ideas are expressive of a sentiment that was voiced multiple times over the course of the Emergēncia discussions: that the digital world and the real world shouldn’t be thought of as distinct entities. Binaries of physical and digital interaction are becoming increasingly outdated. In the screened off discussion group, the idea was put forward that, increasingly, value systems are being created that have digital capability at their centre. As younger generations grow up with constant digital access, the distinction between digital and actual realms of possibility begins to fall away. As such, it behoves organisations, especially arts-activist organisations, to think of the two as halves of one whole. In the URL vs IRL discussion, the term ‘frontline and online’ was coined, as the participants decided that these worlds were one and the same and should be thought of as such if an organisation or movement is to work in a cohesive and informed manner.

Education

Education was touched upon in a variety of discussions, where an appeal to the young or unskilled was central to a programme of social change. Education and training are central roles of many of the organisations present at the conference, not least Fora do Eixo, Ashtar theatre or the Magamba Network. Equally, one of our host organisations, Contact Theatre, is actively engaged in educational programmes. All of these entities look to provide tools and training that will allow people to improve themselves and the world in which they live.

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The citizen journalists discussion group were invited to consider the role of the citizen journalist in modern society and asked to discuss whether or not training citizen journalists from scratch was either possible or desirable. The direction of the discussion suggested that there was a risk of overtraining journalists. As a body of people who ought to seek out truth and escape bias, the idea of training a group of people with pre-formed ideas about the world seems counterproductive. The group suggested that by simply creating a network society - by allowing young people access to resources and to each other - a generation of citizen journalists could educate themselves.

Furthermore, this group warned that simply teaching people how to write, broadcast and communicate would be insufficient in seeking to effect long-term change. This is a lesson learned in practice by both Claudio Prado and Farai Monro in Brazil and Zimbabwe, where the citizen journalist movement is an important alternative to mainstream media. Until you teach people how to live, and to be self-sufficient, the difference will only ever be short-lived. Equally, educating people within their own immediate circumstances is only half the battle. A great emphasis was put, in more than one of the discussion groups, on the benefit of cultural exchange to education. In the URL vs IRL grouping, it was pointed out that people are very often dependent on their local sociocultural contexts for information and education. They agreed with the citizen journalists group in arguing that global connectivity is the key to making other worlds visible, and that this visibility is an education in itself.

In the discussion on creative change, there was much talk of creative education and its distinction from mainstream education. They argued that, in the sense that society and culture are intertwined, so too should education and culture be. The group agreed that any change brought about through culture should start from a young age and, ideally, involve global interaction. They discussed an example of a dance school in Brussels which teaches philosophy alongside its lessons, and concluded that culture ought to be folded into education across the curriculum, rather than remaining ring-fenced. They argued that culture ought to be the lens through which the world is viewed and in this spirit, that a UN of Culture ought to be established encouraging institutions around the world to help and support one another. In citing Ashtar theatre’s Gaza Monologues project, the group expressed a belief that art education is vital to social change.

CONCLUSIONSThe goal of Emergēncia was to expose and explore the gaps present in current multi-organisation and multi-disciplinary work. The vision of the conference was to see what we might learn with multiple perspectives on an international cultural system that is difficult to pin down or define. The delegates at Emergēncia were representatives of very different industries and all came to the conference with different ideas of what they sought to gain and learn from the proceedings. At the centre of the conference was a belief, both from the organisers and the attendees, in the power and importance of face to face contact and dynamic conversation. Whilst attendees had a good grasp and a wealth of experience in their own contexts, what was striking about the findings of the conference was the points of similarity between geographically disparate projects.

At the same time, the philosophy of the conference, the dual forces of urgency and emergency that give Emergēncia its name, suggest that the attendees also perceive problems in the workings of networks and in the ways in which we interact with one another. Many of the attendees work in areas of conflict, deprivation, or in sites of harsh state control and restrictive media regimes. This work is urgent due to the fact that that these sites are dynamic and ever changing, responding to volatile political climates and the whims of the states under which they operate. To ensure flows of communication, equality of opportunity, education, and the promotion of cultural endeavour, these organisations must respond continuously to their environments. By being a member of an international and like-minded network, these organisations can look to respond to these crises with an arsenal of shared experience and expertise behind them.

There seemed to be agreement that activism, art, academia, business, education, industry, charity and other vital sectors could gain a lot from cooperating with one another. Equally, the proceedings of Emergēncia were all too often punctuated with dissatisfaction at failings in communication, a lack of coordination, the damaging competition that exists for funding, and a failure to utilise our resources more effectively. Each and every member of the Emergēncia delegation was able to point to problems in the current international system of cultural distribution and social progression, and all were present, to some degree, out of a desire to voice these concerns and to fix these problems.

That being said, the conference was far from negative. For every word of dissatisfaction, there were far more of hope and inventiveness. The mood of the week was, as intended, one of problem solving and optimism. Furthermore, it was clear that even the shared experience had been, for many,

consciousness expanding and enlivening, in terms of real world opportunities for future collaboration, but also of an insight into the lives, projects, and aspirations of fellow attendees.

CORE ACTIVATORSWe asked our core activators what they saw as the benefits of working within a network.

Sam Bower: ‘The chance to bring a perspective that embraces ecological thinking

and the idea of what more a resilient human culture would be’

Steve Vickers: ‘Sharing ideas and learning new ways in which we can develop our

cultural practice and creative mediums. Make connections with people in places that I’ve

never connected with before’

Sharon Dean: ‘I have a lot of expertise that other countries might benefit from. I get to meet great people, hear great music, see

great films and make a difference’

Vijay Nair: ‘the creative industry across the world – especially in developing countries – is definitely interlinked. The only way to learn and grow is to actually meet people from developing countries and learn from

their experiences. Being a core activator for IPOW helps to meet people who have that

experience’

Amin Khosravi: ‘multi-perspective thinking is the key to problem solving’

Laurent Kasindi: ‘to try to find out how to adapt those experiences in the context of the

DRC and to really help people of the Congo to emerge from their conflicts’

Sam Monro: ‘I’d like to get input and ideas from the different creative who are gathered

here to see how they get the resources to put things together and see how to make it

sustainable and be part of a network of other creative hubs and cultural spaces’

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The conference was designed, among other things, as a means to discover opportunities for future research projects which would draw upon the needs and interests of the activators present to create a cooperative research project that would allow these international partners to work together to further a common goal. The following areas presented opportunities to do so:

Tools and tool-kits.

A frequently spoken of, but still controversial, topic was the concept of tools and tool-kits. Whilst many of the discussions pointed in the direction of tools that might facilitate movement or training, there was an overriding exasperation at the proliferation of tool-kits. Many of the delegates had first-hand experience of using, or being invited to use, tool-kits and admitted to finding them ineffective in everyday training and practice. More than one of the conferences attendees said they were put off by the idea of creating more online tools.

There was an element of discontent at the idea of ‘reinventing the wheel’. Many of the tools we were talking about already existed right in front of our noses but need to be better exploited. There is no point creating new tools when we could achieve just as much by teaching people how to make the best use of the tools that already exist. The Arab revolts and subsequent social movements have made great use of social digital infrastructure that already exists - Facebook, Youtube, Twitter, WhatsApp. More effort should be put into hacking and exploiting tools that already have global reach and high rates of adoption worldwide.

That being said, there was interest in the adoption and creation of a series of platforms to aid in artist mobility, from the Airbnb style system for accommodating artists and activists travelling abroad, to the Kickstarter style crowdfunding system allowing individuals and organisations to fundraise for specific projects. Whether these could be established as whole new platforms, or we could look to exploit existing platforms, there is yet some potential to these online facilitators.

Even here, though, there was reluctance. The feeling being that rather than trying to invent new resources, we should look to fully understand the greatest resource we collectively possess - one another.

Networking.

During the closing discussions of the Emergēncia conference, Laurent Kasindi - representative of Search for Common Ground in the DRC - voiced what he felt was the true value of a network. It is not about knowing everything, he argued,

Rasha Shaheen: ‘I’ve come to this conference to learn and to meet people and to collaborate

and find out what people are doing’

Alison Surtees: ‘I think if we’re really going to see change and accept change, social

change for people across the globe then we need to reach out to each other through our art

and creativity to enable that to happen. We’re just stronger together than we are separated’

Mary Ann Devlieg: ‘it’s real easy to go with the other group and to say that we can’t do anything about it - that life is cruel and that’s just the way it is. It’s much more courageous but, I think, much more important to keep being inspired, to keep

saying there will be a way – we have to care about each other’

Claudio Prado: ‘I think the 21st Century is about peace, finally in this world, in this universe so I’m

on it’

but knowing where to look in order to find knowledge when it becomes relevant. In this statement, Laurent expressed a common theme of the conference, that we are already sitting on an enormous knowledge base, but one that we are unable to truly know or quantify.

Our delegate from Italy, Mary Ann DeVlieg from freeDimensional, encouraged the collective to look towards network theory and network evaluation in an effort to quantify the reach and capabilities of a network. Network relations are very often one-way, with information feeding outwards from a hub and filtering down. With network evaluation, we could look to get some degree of feedback from the far flung members of a network, to assess its true worth and influence.

As was mentioned in a discussion of the interrelation between theory and practice, a more reciprocal and open network could also be utilised to form a fruitful and continuous dialogue between academic communities - those with access to research funding - and practice communities who all too often are underfunded and may well have insufficient resources to expand and self-support. A platform or publication could be created which focusses not on available funding opportunities, but on research agendas. These agendas could then be developed in line with what arts organisations, cultural developers, tech startups and other practitioners want to see happen in the world in which they operate.

Whilst talk of ‘formalising’ networks through newsletters and regular updates was sometimes met with cynicism, the concept of an ‘audit of resources’ was far more eagerly received. Over the course of the week, and in various discussions, delegates lamented the burdens of operating in isolation and competition. If we could build a database of network resources, we might save one another continuously redoubling efforts. These resources might be large and tangible, such as a space in a particular city, access to vehicles or equipment or access to specialist studios. They might also be more administrative or mundane: if an organisation has already developed an ethical participation form or a system for keeping track of artists around the world, for example, it might be of great use to a younger organisation in another continent looking to do the same. By sharing what we have achieved individually, the network as a whole can progress.

Experience and cultural space.

One of the key successes of Emergēncia was the feat of gathering together a group of people with such a broad range of experience. Not only did the delegates at the conference span five continents, but also came to Emergēncia from many far flung corners of the arts-activism complex around which many of the discussions revolved. In the closing discussions of the week’s events, one delegate lauded the ‘butterfly effect’ of sharing resources and experiences. We can learn a great deal just by talking with someone and gaining even a small amount of insight into the work that they do and the goals they wish to achieve. The importance of experiential exchange was clear as the week progressed and more collaborative connections were made.

At several points during the week, delegates were invited to tour some of Manchester’s cultural spaces. In changing the venue of the conference each day, Emergēncia enabled its attendees to experience the solutions to many of the problems faced when creating a cultural establishment, from funding and placement, to philosophy and versatility. In this sense, the venues bled into the discussions themselves and added weight to the apparent power of experiential exchange. Throughout the week the discussions undertaken as part of Emergēncia, and those undertaken with the Anna Lindh Foundation, seemed to anticipate some value in visiting the spaces and places of work of other members of the conference.

It would be in the best interest of a network, especially one as vibrant and varied as that which attended the Emergēncia conference, to begin a series of site-specific meetings. If the network is to continue to come together, it should not be in conference halls or anonymous hired buildings, but in venues controlled and invested in by members of

the network. Interest was expressed by several attendees in organising visits to one anothers’ cultural spaces. By organising the network around specific spaces, we could not only ensure frequent contact, but embark upon a journey of mutual education.

By sharing in the experiences, and the lives, of fellow network members for even a short time, we could aid one another in a range of pertinent matters including business development, community outreach, fundraising and sustainability. At the same time, by focusing on physical spaces as well as organisations and individuals, the network could begin to build an international exchange programme where trusted spaces around the world could allow young people, artists, activists and trainers to be a part of a global dialogue.

As a research opportunity, a space exchange would allow for a hands-on examination of what it means to create and run a cultural space. It would be a chance to understand what communities on different sides of the world look for from a cultural space and to learn how central a role culture plays in the fabric of a society. Furthermore, a project around cultural space would allow for an examination of how well certain elements of a cultural space would translate across borders and oceans and how different socio-political contexts shape the development, utilisation, users and security of a space.

Why is it that, in certain places, a space can become central to the fabric of a community, whereas in others it is rejected and neglected? And is there an essential difference between a cultural space owned by the administration and one created and owned by a community?

In answering these questions, it may be possible to build up sufficient support to nurture new cultural spaces across the world, built upon the combined knowledge and experience of a growing global network of like-minded experts.

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CALL TO ACTIONEmergēncia has not yet come to an end. This process was an opportunity for people to come together and discuss the problems they perceive, or have come up against, in their own practice. Over the course of the week, those who attended the conference identified several areas where projects and research might be beneficial. Not only for the members who managed to attend, but for those in the wider network, and for creative practitioners around the world.

The next phase of this project is to invite network members to continue in the spirit of Emergēncia and provide us with insight and perspectives to help us continue to improve and grow together. As Alison Surtees put it during the conference, ‘we’re just stronger together than we are separated’.

In Place of War have identified three areas that we feel require action and invite members to contribute suggestions and project ideas to continue the process of making this an active, engaged network.

Network improvement. We as a network have identified the fact that a network works a lot better when we are in regular and, ideally, face to face contact. This is not always possible of course and several options were presented over the week: using Google hangouts for a more visceral form of communication; having regularly scheduled digital meetings; having a medium through which members could post calls for resources or advice; taking more measures to evaluate the network and its efficiency; and creating an audit of our collective resources.

These are all elements that we have the power to pursue and each will make the other more effective and more important. The more engagement we have as a network, the greater the benefit for individual members.

We’re inviting members to send us their thought on the network as it is now and ideas for how it could develop in the future. If there is anything in this report that you disagree with, or anything that you think is missing, then let us know. We’re asking members to answer the following calls for action:

• Send us details of your ‘resources’ - this might a physical resource (equipment, spaces etc.), a digital resource (an online learning platform, document templates) or a human resource (specific areas of expertise, advice and guidance). By gathering and documenting the resources of network members, we can help guide members in need of assistance to the right place and facilitate further collaboration.

• Express your interest in a regular digital meeting of network members, to be facilitated by In Place of War. Let us know what form would best suit your needs.

• Tell us your thoughts on the creation of a mailing list through which members could distribute calls for assistance and advice from network members.

Digital tools and functionality. It was agreed in our discussions over the course of Emergēncia by a number of members that the disparity between online and offline activity was narrowing. It is to the benefit of the network to consider how best to exploit our digital assets and to look into new areas for digital development. We spoke a lot about digital ‘tool kits’. Some members thought they weren’t useful, some did. We want to unpack the worth of these tool kits and find out if there is a place for them and see whether we can identify new opportunities to analyse and develop digital tools. Furthermore, we want to see if we can enhance our existing digital tools in a more user-led way.

As a diverse network, many members interface with their followers in very different ways and all use digital tools in a fashion that suits their context. We want to know which tools you use, whether it’s an existing social media site, or a bespoke piece of software. By circulating these details, we can look to share experience and identify new opportunities. We want to build a picture of the digital landscape used by the network and we invite you to respond to the following calls for action:

• Tell us what tools you use and how they help you to carry out your work.

• Tell us about the limitations you’ve found with your current systems and processes.

• Send us ideas that you’ve had that have failed to gain momentum or have lacked enough funding to become fruitful. These ideas can be circulated to network members who may wish to work alongside you in getting these projects off the ground.

Cultural space exchange. We spent a lot of time over the course of the week working within cultural and creative spaces. We also spent a lot of the time during the week discussing these spaces and spaces around the world. Several network members run or are closely involved with cultural spaces in their respective countries. In Place of War intends to explore the power and importance of these spaces and would like to invite members to join us in this project. The full outline can be found overleaf. We want network members to contribute in a number of ways.

PROJECT PROPOSAL: CULTURAL SPACES

In Place of War are looking to launch a research project around the creation and upkeep of cultural spaces in sites of conflict, emergency and revolution. The power of cultural activity to sustain communities and to affect very real political and social change has, for a long time, been a key focus of In Place of War. For over a decade, the organisation has been creating a network and now has partners at a variety of stages in the process of creating their own viable cultural space. This project will look to formalise a global network of cultural spaces and, in doing so, interrogate what it is that makes a space into a cultural space. By looking at both established state run institutions, and community led projects in their infancy, the project will explore the challenges and benefits associated with administration, funding, ideology, community engagement and state sponsorship.

Aims.

At the heart of this project is a belief in the value of cultural space as a tool for community cohesion; a tool in the promotion of education and awareness; and a facilitator for social and political change. The spaces already working with In Place of War exist in very different places and have come from disparate ideologies, but all see the inherent value in using a physical space as a gathering point for creative and social endeavour within a community.

The project will look to fulfil several aims: the expansion and formalisation of a network of cultural spaces around the world; the creation of a tool or publication for the sharing of best practice between spaces; the establishment of a support system for new and under-resourced cultural spaces; a program of cultural exchange designed to allow the users of cultural spaces to experience the workings of other spaces around the world; a series of meetings to be held in cultural spaces around the world, building towards a report presenting research findings.

The In Place of War network is already extensive and growing, but this project will put a specific emphasis upon cultural spaces, in order that the exchange of ideas be more focussed upon the particular challenges faced by communities or organisations looking to establish a space, particularly in sites of conflict or political unrest. By creating a new network, with regular meetings, IPOW hopes to bring together a large number of talented and innovative individuals whose combined expertise will allow a study of the nature of cultural space whilst also allowing for exchange and collaboration.

Furthermore, by gathering together and interviewing these parties, we can begin to build an archive of best practice. By learning the stories behind the cultural spaces – the source of their funding, their founding ideologies, their partnerships, their successes and compromises – we can begin to compile a document, whether physical or digital, drawing together the advice and recommendations of the network. The benefit would be an output that, whilst based on academic research, could also be applied practically.

In collecting this data, and tapping the expertise of more established spaces, we can develop a system of support for new and developing projects. If a group needs help with a particular part of the process – whether it be sourcing equipment, raising funds, gaining state support – an appeal can be made to the network for advice and assistance. If a totally new organisation wishes to create a space, the network can put together a voluntary advisory committee of representatives from across the network to nurture the new space.

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As well as providing administrative and advisory support, the network can also work together to facilitate a process of international cultural exchange, allowing both creators and users of cultural spaces to see how others work around world. In IPOW’s recent Emergencia project, the value of physically visiting other cultural spaces was universally agreed upon in discussions between creative practitioners. By allowing people to live one another’s challenges and successes, the benefits of these exchanges will not just be two-way. By feeding these experiences back into the network, the lessons learnt on these exchanges can spread to the network as a whole.

All of the activities above will be built around a series of annual meetings to take place in members’ spaces over the course of three years. These meetings will be a part of the network building process, will be an opportunity to interview and engage in discussions with members, and will form a part of the cultural exchange programme. The meetings will be based on answering some of the research questions that will underlie the more practical outputs of the project. As well as producing annual reports, the project will produce a final report looking to answer these questions whilst reviewing the project as a whole.

Existing spaces/partners

• AltCity, Lebanon• Tiuna El Fuerte, Venezuela• Magamba Network, Zimbabwe• Fora Do Eixo, Brazil• Ketabul Music, Kenya• Makokoba project, Zimbabwe• Search for Common Ground, DRC• Contact, UK• Upper Space, UK• Casa De Paz

Activities

• The main activities of the project will be a series of three annual meetings each built around one of the projects’ central research themes. The meetings will take place in a members’ space and will invite other members from partner spaces as well as organisations looking to establish new spaces.

• Alongside this, there will be an ongoing dialogue between spaces, establishing an incubator for new spaces, using the expertise of partner organisations in order to help younger spaces off the ground.

• A series of films and interviews will document the process of creating a cultural space as well as the benefits to the community.

Outcomes

• IPOW will work to formalise a network of cultural spaces who can learn from one another, exchange resources and provide a familiar base for travelling artists.

• Best practice guide – by interviewing and working with the people behind these spaces, we will produce a best practice document, pulling together the wisdom and advice of creative practitioners around the world, telling their stories as a guide to others wishing to emulate them. The guide will include chronologies, funding strategies, floor plans, organisational ideologies and more.

• An active advisory group for organisations and collectives looking to establish their own spaces around the world, using the Makokoba project as its initial start-up.

• A cultural exchange program whereby administrators and users of spaces can travel between members sites, learning from one another and collaborating internationally.

• A report, based on the findings of the research project and the annual meetings, unpacking the nature and importance of cultural space and its varying relevance in different social and political contexts.

• A film, made over the course of the three years, charting the creation of a new cultural space whilst exploring the journeys of, and documenting the lessons of, other member spaces.

Research Questions

• What makes a space into a cultural space?• What are the costs/benefits of a space created with government sponsorship vs one created by a community alone?• What difference is there between a cultural space operating during conflict and one operating in peace time?• Are there advantages to imposing boundaries on the uses of a cultural space, or is a community better served with

totally unbound remit of a space?• Is corporate interest/sponsorship in a cultural space desirable/beneficial? Is anything sacrificed in terms of creative

freedom?• Is there any correlation between access to a cultural space and future professional success? • Can cultural spaces be used to reduce crime?

We’re looking for a number of things from our members to get this process started. If you’re interested in getting involved, we’d like you to send us the following:

• An expression of interest, signalling in what capacity you’d like to be involved with the project. • Details of any research you’re already involved with around creative and cultural spaces. • Details of your spaces. We’re looking for sites to engage with in our exchange programme of spaces around the world.

If you would like to be involved in this exchange or you think your space might benefit, let us know. • Thoughts and ideas on what you would like to see as an outcome to this project. We want to develop a project that helps

further the goals of our members. Please get involved.