Case study: Lara Eggleton and Sarah Smizz in conversation
I looked at the publication mentioned, and the following notes and quoations from the document sat well with me: ” ( I later realised it is also available on the SYP Resouce Padlet: What is peer support? (makes one think of the padlet as a support system….)
“It is clear from the following case studies, distilled from the interviews conducted by writer-inresidence Alice Bradshaw, that artists can be excellent adaptors. But this is both a blessing and a curse in an art world that is increasingly competitive and profit-driven. Self-care strategies and the fostering of caring networks — often within or across local communities — are crucial ways that many of these artists sustain their practice, without having to sacrifice their happiness and wellbeing. This publication takes a critical look at ‘resilience’ as well as other seemingly benign terms such as ‘ecology’ and ‘authenticity’, which are often used to describe artists and creative networks but lack the sensitivity and nuance needed to address individual circumstances and the regional and sub-regional conditions in which they operate.” (introduction)
I read the following about resillience: “The etymology of the word (according to Google) makes
for interesting reading. Coined in the 1620s, resilience was defined as ‘an act of rebounding’, derived from the Latin resiliens, the present participle of resilire: to rebound or recoil (from re- ‘back’ + salire ‘to jump,leap’). There was a steep rise in its use around the 1980s and a steady growth ever since, almost doubling year upon year. This isn’t mere coincidence. The 1980s saw a political economy of resilience develop, laying the foundations for neoliberal governance and our present-day accelerationist tendencies. Governments and organisations argue that we need to be resilient in the face of economic and social changes— which can include being dangerously understaffed, underfunded and overworked, while artificially dividing small funds between investment and prevention and
support policies.1 But resilience-led thinking causes policy makers and leaders to focus on ‘strengths and opportunities’, casually reorienting the conversation within impoverished communities where maladjustment and deficiency are rife.” (pdf document p30)
About ecologies of care: “This is important because such self-organised models can change the terms of debate around the creative economy, recognising celebratory discourses whilst enabling more critically engaged voices. These networks of care act as softener for the harsh economic and elitist conditions of the creative industries,especially if these artists are from working class backgrounds or other underrepresented groups. Here was an active repurposing of resilience as a reflection of the quality of relationships within the region.” (pdf document p32)
Ideas such as working from the heart, and not being profit driven. Listening to your instincs, not being attached to expectations, rather allow things to happen (Nuala Poe)
The conversation:
My response – what resonated with me in the conversation is that what concerns artists, almost to expose ’embedded stereotypes’. An onus is put onto the person – the system. I also like the focus on smaller communities – who do not have access to all the support systems, as it reminds me of where I life – a rural farming area with a small village. Here one need connections, not just with other artists, but to get supplies, tools, workshops, feedback on your work, talk about your work. This is where the idea of ‘networks of care’ came about. Once these networks establish – they continue to nourish and friendships are formed. These become mutually supported. I do like this idea and can see it in my small work around a community project for young children. Kids like to share – the world teaches them not to share. This sat with me for a while – I really need these spaces to share, as working in my own place can become isolated. Also suggested to look at ‘the artworld’ as ‘the market – but to beware of the many levels of this ‘artworld’.
Thinking about how Covid changed so much of the world, I feel the use of online platforms to dicuss, like Zoom/Meet opened up more opportunities for sharing and caring. I belong to a few whats up groups with students and artists and experience it as a safe space for learning, caring and sharing.
In the conversation, Smizz uses the term ‘holding each other up’, and they both talk about ‘showing other people interest in what drives them, but also you’re getting fed through it as well…it always seems to pay off.’
I was also inspired by the ideas around ‘epistemic injustice’ – our community still suffer from this, where not all experiences are valued or listened to.
Further reading:
I came upon the caring and care blogspot on the OCA site https://caringandcare.blogspot.com/ as well as Sheila Ghelani’s Checklist of Care.
Ideas for my own practice
Making nests in open spaces that reflect on self-care – become a space for contemplation and safety. Suggest visitors leave something as a gesture for the nest person who needs the nest?
Bibliography
Resillience is Futile, pdf read online at: https://corridor8.co.uk/wp-content/uploads/2019/09/Resilience-is-Futile-2019-C8-YVAN.pdf