tra art inside out and backwards using the arts · pdf fileas a means to witness, disseminate...

ART INSIDE OUT AND BACKWARDSUsing the arts process as a means to witness,disseminate information and enrich research

Rozelle Bentheim

Arts-based projects are often discounted for just being ‘nice’ but is there more to them?

Three projects

Acknowlegdements

Please do not use this work without prior permission from the author, [email protected]. If referencing the presentation please do so as: Bentheim, R. (2017) ART INSIDE OUT AND BACKWARDS Using the arts process as a means to witness, disseminate information and enrich research, presentation to the Centre for Gender and Violence Research, 20th February, 2017. Bristol: University of Bristol.

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Opening Question

Examples

ART INSIDE OUT AND BACKWARDSUsing the arts process as a means to disseminate information and enrich research

Bristol UniversityCentre for Gender and Violence ResearchPresentation20.02.2017

Arts-based projects are often discounted for just being ‘nice’, but is there more to them?

Is there something in art and play, that can help us reconnect with the immersive curiosity we have as children, to slow down, and take time to process our thoughts?

What a rush people seem to be in.

So in trying to help participants represent themselves, explain what they mean and feel understood, my instinct was to try and slow them down. To engage them but also give them an obstacle, an interruption, to have to work through with the hope of enabling them to slow down and think in a different way, or even afresh.

So far, this has been tried through three different tasks: 1 making a portrait necklace, 2 making a portrait logo, 3 making a portrait of ‘what I think’,

through defining their particular understanding of a word by building a detailed metaphor.

What I’m interested to discover from an academic perspective, is if – as I feel there is – something more in this work than just being nice projects? Can an arts-based process offer an effective means for obtaining rich information and also disseminating it?

About me

Over the last 4 years I have been experimenting with helping different people in different contexts, under different degrees of pressure, explain their point of view. This is through making a biographical portrait either in words or in the form of an object. This is done using arts processes and also through another person who takes the role of a witness-documenter.

The strategies I have drawn upon to do this have grown out of my education, graphic design, drama,

physical theatre and dance movement therapy and my career, making books both as a designer and children’s author-illustrator, as well my experience in corporate identity. Another source of learning has been through play, developing arts projects for several years for a Primary School Infants Department.

I solve problems not through using established theory but solely though past experience and experimenting, doing and making through observation, analysis, trial and error. My aim and focus is to stimulate critical thinking through play.

For the last 18 months I’ve been working for Respond*, developing projects with a group of adults who come under the umbrella of Learning Difficulty to enable their views to inform and educate for positive change.

*Respond is a UK-based charity which supports people with learning disabilities, their relatives and professionals affected by trauma and abuse.

Arts-based projects are often discounted for just being ‘nice’ but is there more to them?

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THE TRYING -TO - DO -THINGS - BET TER LINE

Bristol UniversityCentre for Gender and Violence Research

The Arts

As I see it, this is our shared context, the Trying-to-do-things-better line.

Here in Bristol University, you are a main line station. whereas sadly these days I feel that arts education has been relegated to a neglected branch line.

To many academics and artists operate in different travel zones. I would question this, but I do assume that overall we do things differently. I think this difference is valuable, and important to define.

So bearing this in mind, is there even the potential for a formal exchange between our disciplines?

What we share is that we both investigate, but what is different about how we do it?

For example, decision-making. As an art practitioner, my decisions are based on what I think works, what comes to my attention, my feelings, my experience,

a patchwork of accumulated knowledge, a gut response, an intuitive leap.

The way I observe, analyse, evaluate, build an argument, and apply method is probably very similar to how I make decisions.

My constraints are self-made and limited by my ability and resources. I work outside the system. What I do is not constrained by funders nor policy-makers nor having to ‘roll it out’. I understand through experience.

So I imagine that from an academic perspective, this presentation is full of unsubstantiated leaps, assumptions, and the analysis is full of holes.

Also my work is playful. Playful work is not for everyone. I know from experience that some people really, really, really hate it and refuse to take the risk that play entails.

But despite the differences, is there something in what I do that is a useful addition to, what in your work, you are trying to achieve?

I think there is... that the arts cultivate a certain quality of magic through a mixture of serendipty and method but that, maybe counterintuitively, the result is precise. It has to be.

A composition has to be perfect or it falls apart.I argue that the arts process aims for precision. A perfect solution is the intention, the focus.

I believe that there is a quality in the process of art and the process of play, something about how it feels to do, a state of mind, that can help us reconnect with the immersive curiosity we have as children, to slow down, and take time to process our thoughts.

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CONTEXT HOW PROJEC TS COME ABOUT

How to get teenage girls from different communities to take time to sit down and talk to each other for an hour or so and then have ‘art’ evidence to exhibit as proof of delivery?

How to get university students on opposite sides of a toxic conflict to take time to sit down and talk to each other for an hour or so in order to share a room for the next five days?

How to get professionals who run social service provision, who are coping with cuts, to take time to sit down and talkto each other, to be motivated to think creatively about how to solve the impact of staff cuts and policy changes?

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THE ARTISTS - SEEM - TO - BE - ASKED - FOR - SOLUTIONS - WHEN - PEOPLE - FEEL - STUCK LINE

CONTEXT IN ARTS PROCESS, PROBLEMS BECOME THE PATH TO A SOLUTION4

The three arts-process-based projects were developed in response to these three problems.

How to get teenage girls from different communities to take time to sit down and talk to each other for an hour or so and then have ‘art’ evidence to exhibit as proof of delivery?

How to get university students on opposite sides of a toxic conflict to take time to sit down and talk to each other for an hour or so in order to share a room for the next five days?

How to get professionals who run social service provision, who are coping with cuts, to take time to sit down and talkto each other, to be motivated to think creatively about how to solve the impact of staff cuts and policy changes?

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2012 2013 2015

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Teenage Schoolgirls2012 Three Faiths Forum2012 Three Faiths Forum2013 Three Faiths Forum2013 Three Faiths Forum2014 Three Faiths Forum2014 Three Faiths Forum2014 Three Faiths Forum

Older Women2012 Growing Old Disgracefully2013 Older Womens’ Co-Housing

Female Survivors of Domestic Abuse2015 Hestia Camden2015 Hestia Westminster

University Students2013 One Voice Israel Palestine2014 One Voice Israel Palestine

Teenage Schoolgirls 2013 Girls’ School

Social Service Professionals2015 Creativity in the Social Services RSA

THE PROCESSES WERE USED TO FULFIL A CLIENT BRIEF AND IMPLEMENTED FOR:

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WHY DID THE PROJEC TS WORK? WHAT IS SPECIAL ABOUT THE PROCESS?

Comparing academic process and arts process, maybe the difference lies in method.

The start of any work is curiosity.So perhaps it’s looking at how we do what we do?About questions? About the question process? About the ‘experience’ of the question process?

If the question process in academia and the arts is different, could a quality of technique, of intention, of state of mind explain it? Is it the tone of the curiosity employed that is different? Do academics examine, whereas artists explore?

Which is our more natural state, examining or exploring? Which one does nature use to teach us?Maybe it’s not one or the other. Perhaps it’s a mixture of both.

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Question culture in the arts

I suggest that artists form questions in a context of play. The question is a toy that is played with. I also suggest that play is a timeless space, in that in a state of play we can forget about time altogether.

Is there something about this timeless state that can help us think? And how in an increasingly busy world can we create it? Can a question asked in a playful, timeless context lead to a richer answer?

Outside the arts, is a question a challenge with an implicit context of success or failure? Taking on a challenge is different in tone to playing with a toy. A challenge is measured by success or failure whereas play is measured by satisfaction or dissatisfaction. Is it that the challenge, with its inherent wining/losing, is binary, brittle and hard, whereas play is soft, mutable and allows for rumination?


THE TRYING -TO - DO -THINGS - BET TER LINE

IS THERE AN OPPORTUNIT Y FOR A LINK BET WEEN OUR LINES OF TRAVEL?6

Academic Process

Arts Process

What do academics and artists have in common?

What we have in common is that we investigate an idea. We can see that our means of expressing the conclusion is different. But what about the things that we may take for granted: the process, the practice and the components. How we work and the tools with which we work, and the context we work in. What is different about that?

In essence, our work is driven by the questions we ask, how we ask them, where and when we ask them.

So, is there something different in the tone of our most basic of tools, the question, and about the personality of our question culture?

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What is a question’s job in the research process?

In research, I image that a question’s job, put very bluntly, is to switch on a research interviewee but that it can run the risk of switching off a person too. Perhaps it could also trigger someone to self-edit before they speak.

If this is a problem in research, could a question toy help? We all self-edit in some way. But what is the nature of the editor in our heads? Who are they? What is their benchmark? Do we have different editors? In research how might one prompt the ‘right’ editor to show up?

Can we slow down?

Why is there a rush to make up our minds?

It’s as if the very state of not knowing is in some sense frightening.

Yet when we are young children, not knowing is the motor for learning and discovery, a contented state of perpetual why-ness. So when we are older, in the rush to move on to the next thought, is it possible for some sort of intervention to cause us to pause, to loiter, and to reflect and question?

Observational comedians do this, re-framing shared experiences from a different angle. They enable us to see ourselves differently. To rethink how we had seen

ourselves, to maybe expand our vision of ourselves and our context, to think again. Dramatists and writers do this too. But given the tools, can we do this for ourselves?

The first project, the portrait necklace, was used initially by the Three Faiths Forum in 2012 to link two different faith schools. And it worked.

But from the beginning there seemed more to this project than simply answering the Three Faiths brief. It was the impact the doing of the project had on the participants. This is what happened to one of them.

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The biggest impact that having a portrait necklace made seemed to be on a classroom teaching assistant. As the teaching assistant’s partner presented her to the full group by showing her portrait necklace and explained each element in it to the children and teachers, her smile grew and grew. She literally shone. It was at that moment that we knew this work had to be pursued.

Can following Alice down the rabbit hole...8

...connect us with our inner tortoise?

Illustration from Aesop’s Fables

1919 Children’s Book

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What happens to our thinking path when a question is asked?

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DIRECT QUESTION?

WHAT KIND OF QUESTION?

Following Alice down the rabbit hole to connect with our inner tortoise

Is there something, some quality, in art and play, the experience of being ‘down the rabbit hole’,that can help us reconnect with the immersive curiosity we have as young children, to slow down, and take time to process our thoughts, to reconnect with the unselfconscious, purposeful, inner ‘tortoise’ of our early childhood?

Through playfulness, can we engage the childhood joy of ‘why?’ and disengage from the adult shame of not knowing?

What happens to our thinking path when a direct question is asked?

From what I see in others, and can experience in myself, I suggest that there is panic. So what tone, quality of question process, experience, could make, ‘why?’ more do-able? What could reduce the risk of the shame of not knowing, or not finding the words: a question challenge or an arts question toy?

Regarding the content of an interviewee’s answer, thinking back to the questions put on page 6, which of the interviewee’s self-editors do you want to turn up? The one who measures by satisfaction or the critic? Is satisfaction instinctive whereas the critic is formed by our particular external environment? If that is true, which self-editor is more me, ‘satisfaction’ or the critic? Whatever, it’s complicated.

Could the form of a question process make a difference?

Can the form a question takes, its construction, how it’s built, the questioning process, the experience, enable us to slow down? If our reaction is also influenced by a self-editor, what criteria do we want them to employ, hard win/lose or soft satisfaction/disatisfaction. Is this not only about fast and slow but also hard and soft?

Can the form of a question process enable us to stop being a harried, possibly externally driven ‘hare’, and revert to being a purposeful, possibly self-motivated ‘tortoise’?

And if it can, what about the content of the answer?

If the construction of a question can change the way we answer, can the construction of an answer, change ‘what’ we answer too?

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What is a question’s job in the research process

In research, I image that a question’s job, put very bluntly, is to switch on a research interviewee but that it can run the risk of switching a person off too. It could also trigger someone to self- edit before they speak?

If this is a problem in research, could a question toy help? (see page 6)

THE THREE PROJEC TS

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So in trying to help participants represent themselves, explain what they mean and feel understood, my instinct was to try and slow them down. To engage them but also give them an OBSTACLE, an interruption, to have to work through with the hope of enabling them to slow down and think in a different way, or even afresh. (see page 1)

THE ‘OBSTACLE ‘

THE IN

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ETAPHORICAL LANGUAGE

THE OBSTACLE An exploratory question and answer process, where the task is translating into and out of metaphorical language with the aim of precipitating reflection.

‘Are you interested?’ ‘Did you hear me?’‘Do you value me?’‘Can this experience stay with me?’Making metaphorical portraits to answer questions

Three Faiths

Hestia Domestic Violence

Growing Old DisgracefullyOlder Women’s Co-housing

A necklace about you

‘A tree-house with a rope ladder

so she can control who can come in.’

Exploratory Question + Answer Process

Six answers on a NECKLACE

A core topic The context

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www.makingmusicfun.net

INTRODUCTION

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She said running

and running because

when she’s running

she forgets all

her worries.PREPARATION

©ABOUT YOU WORKSHOPS 2013

CLIENT: PHEONIX, WESTMINSTER, DATE 2015.06.12/ SMALL GROUP, WOMEN/ 105 MINUTES / FOCUS SOCIAL, MAKING / 10 PAGES

BRIEF : FOUR PIECES

FOCUS : MAKING, MAKING FOR SOMEONE, AUTHORSHIP

SMALL GROUP AROUND THE TABLE

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Reciprosity

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TASK work in a pairUNDERLYING EXPERIENCE ‘the other’

TASK make something for each otherUNDERLYING EXPERIENCE about another

TASK interview your partnerUNDERLYING EXPERIENCE con� dence and atuning

TASK use your parner’s answers make an objectUNDERLYING EXPERIENCE Listening and authorship

TASK translate the verbal into an object, with limited materialsUNDERLYING EXPERIENCE Tactile, creative risk

‘I know that I am because I know an other is.” Josef Tischner, 2006, The Other, (Theologian and writer on Ethics)

‘...there are three main avenues on which one arrives at meaning in life. The � rst is by creating a work or by doing a deed. The second is by experiencing something or encountering someone...’Dr.Victor E. Frankl, 1946, Man’s Search

0 min.

3 min.

Round the table[ PROPS How much of a question visual / group]

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11 EXCHANGING + FEEDBACK MY PARTNER, MY EXPERIENCE OF THE TASK Introduce your partner using the the Necklace you have made for them. Feedback (@ 2 mins/person + ) 10 min

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1 EXAMPLES VARIETY OF NECKLACES DESIGN AND PURPOSE, A ‘PORTRAIT’ NECKLACE FOR AND ABOUT YOUFOCUS

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2 EXPLANATION A NECKLACE ABOUT YOU LISETTE’S NECKLACE EXPLAINS THE TASK IN GENERALFOCUS

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3 min.

INTRODUCE OURSELVES AROUND THE TABLE | Project Introduction : Making, Being a ‘Maker’, Making for someone 5 min.

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STARTER QUESTIONS FOLLOW UP QUESTIONSSTARTER QUESTIONS FOLLOW UP QUESTIONSSTARTER QUESTIONS FOLLOW UP QUESTIONS

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7 GIVE OUT HELP SHEETSq

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LISETTER

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A logical structure

How to get teenage girls from different communities to sit down and talk to each other for an hour or so and then have ‘art’ evidence to exhibit to funders?

How to give survivors of domestic violence a safe space to share if they choose to?

Getting to know someone

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‘Despite being different, can you be interested in me?’ ‘Can you listen to me?’‘Can you value me?’‘Can I distinguish our differences and similarities?’Making metaphorical portraits to experience difference

‘A boat that’s very big,

strong but patchy. It’s been built over

time. The top is steel and strong and the bottom is

wooden covered in planks. The sides represent the spectrum, like they are

on the edge, like communism

and fascism.’

Exploratory Question + Answer Process

Answers as a LOGO

A core topic The context

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A logical structure

One Voice Summer School

London School

What are the the beliefs that make us who we are?

How to get students who don’t want to listen to each other, to listen to each other?

How to offer young people an open invitation to think critically?

‘A boat that’s very big, strong

but patchy. It’s been built over time. The top is steel and strong and the bottom is wooden covered in planks. The sides represent the

spectrum, like they are on the edge

like communism and

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?

If JUSTICE was a Sandwich1 One-layer, multi-layer,a wrap,pocket or smorgasbord?

2 Butter,margarine or spread?3 DIY, collected or delivered?4 Gourmet,cafe, packed-lunch or chill cabinet?

5 White,wholemeal,or flatbread? 6 Toasted?7 Soggy, dry or fresh?8 Sweet, savoury or both?9 Crusts?

RSA Creativity in Social Services, Network Launch

What we want,.What we don’t want?

We use the same words but do we mean the same thing?Building complex metaphors to answer questions and define meaning to solve a problem

Six metaphors on a DICE

Exploratory Question + Answer Process A core topic The context

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PREPARATION WANT / DON’T WANT

;cA RESTAURANT

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1 Heels or fl at? 2 New, worn in or worn out?3 Synthetic or natural?4 Fashion or function?5 Polished or scuffed?6 Hand-crafted, machine assembled or injection- moulded ?

7 Full-price, discounted. discontinued or pre-loved?

8 Water-repellent, stain-resistant or marks easily?

9 Slip on or lace up?

AN ITEM OF FOOTWEAR

1 Heels or fl at? 2 New, worn in or worn out?3 Synthetic or natural?4 Fashion or function?5 Polished or scuffed?6 Hand-crafted, machine assembled or injection- moulded ?

7 Full-price, discounted. discontinued or pre-loved?

8 Water-repellent, stain-resistant or marks easily?

A RESTAURANT

1 Do you have to book?2 Child-friendly?3 Dress-code?4 Family run or chain?5 Fittings fi xed or fl exible?6 Tipping policy?7 Staffi ng?8 Health Inspections?9 Comfort?

© RO

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A SANDWICH

1 Standard, wrap, pocket or open?

2 Holds together, falls apart or too big to handle

3 Made, collected or delivered?

4 Gourmet, cafe,packed-lunch or chill cabinet?

5 How many fi llings?6 Toasted?7 Soggy, dry or fresh?8 Sweet, savoury or both?9 Crusts?

AN ANIMAL

1 Wild or domesticated?2 Nocturnal, diurnal or crepuscular?

3 Size of territory?4 Grooming habits?5 Seasonal moult?6 Odours?7 Friendly?8 Would you want to stroke it?9 Common, thriving, rare or under threat?

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A BOAT

1 Cargo capacity?2 Ship, yacht, canoe or submarine?

3 Working or pleasure?4 Passenger access?5 Crew?6 Condition?7 Maintenance?8 Automatic, driven or depends on the weather?

9 Top brass?

A SWIMMING POOL1 Lanes?2 Diving board?3 Life-guards?4 Time-table?5 Free entry, membership,or open to the public?

6 Capacity?7 Rules?8 Age-limit?9 Floating debris?

3



BRIEF : FOUR PIECES



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Reciprosity

Authorship

Giving + receiving

Fun








0 min.

3 min.





q

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10:30

10:30

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11:45


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3 min.


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LISETTERO

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A logical structure

How to prompt stretched professionals to take time, slow down, reflect and problem solve.

14



BRIEF : FOUR PIECES



aboutYou

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Reciprosity

Authorship

Giving + receiving

Fun








0 min.

3 min.





q

q10:33

10:30

10:30

FOCUSUNDERSTANDING

FOCUSCONFIDENCE



WARM UP


10:36

5 min. q



FOCUSWHY,HOW,


10:52

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FOCUSINTRODUCING

PARTNER

12:00

EXIT12:15

11:42

11:45


BYE BYE / ENDING

LEAD CHANGE OVER

OMITTING STEP 6

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TIMETABLE context


4 min.

q



MAKING

q



EXPLANATION 6 min.

3 min.


q

10:24



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LISETTER

OZ

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This work is a calibrated tool. It’s an open process. The process can be only as effective asthe focus of the topic that is processed through it,the appropriateness of the context in which it’s usedand the sensibility and intention of those who facilitate it.In the wrong hands it can damage.

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Danger, handle with care

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ACKNOWLEDGEMENTS

2012 Growing Old Disgracefully Social2013 Older Women’s Co-Housing Social

2012 Three Faiths Forum Interfaith Schools Link2012 Three Faiths Forum Interfaith Schools Link2013 Three Faiths Forum Interfaith Schools Link2013 Three Faiths Forum Interfaith Schools Link2014 Three Faiths Forum Interfaith Schools Link2014 Three Faiths Forum Interfaith Schools Link2014 Three Faiths Forum Interfaith Schools Link

2015 Hestia Domestic Violence Recovery2015 Hestia Domestic Violence Recovery2015 Hestia Domestic Violence Recovery

2013 One Voice Israel Palestine Non Violent Communication2014 One Voice Israel Palestine Non Violent Communication

2013 Girls’ School Education

2015 Creativity in Social Services RSA Network Project Launch

This work began due to Lisette, with a job. Lisette Khalastchi is an architect. This work began with an interfaith brief about difference, so without her, my particular ‘exploration’ would never have have been triggered, have taken shape and been given the opportunity to seed, develop and root. Lisette and I are people who need to make things. Professionally, we both design for ‘a client’. What fascinated us both was the act of making, but also the social process involved, the interaction in making for another, the experience of being made for, and the subsequent impact of this on what is made. Throughout, Lisette has been invaluable in her contribution, insights, reflection, sensibility, ability to atune and co-facilitate, and natural ability to warmly connect with people. Working with Lisette, assessing and doing, was key in developing this approach and also in refining my thinking about it – through Lisette being similar, and importantly different. The process of work has forged a true friendship.

With thanks to photographer Adrian Pope for recording what we have done and being a constant encourager, straight-talking and demanding editor, 100% husband and rock. All photographs © Adrian Pope

With thanks to Emeritus Professor Steve Trevillion for taking this work seriously and giving me the opportunity to help launch his project at the Royal Society of Arts and Commerce. To John Lyndon and Sharon Booth who took a chance with us and used us for One Voice’s London Summer Schools. And for support, editor-at-large Jane McIntosh, Lucy Gent, Luthfa Khan, and CEO of Respond, Noelle Blackman. With thanks to Dr Emma Williamson and Professor Marianne Hester at the Centre of Gender Violence Research, Bristol University for seeing in this process the connection and the possibilities between us.

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