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Community Arts Dialogues Is a Publication Of: Treaty of Utrecht Foundation Copyright © Treaty of Utrecht Foundation Dedicated to Rien, who is always so dedicated to others. 1 Contents 1. The Community Arts Lab 5 2. Sint Maarten’s Secret 19 3. Máxima and the man from the lab 37 4. Expedition New West: Professional arts on a neighbourhood journey 61 5. Chasing the dream of community opera in North Utrecht with YO! 85 6. Wrestling with roots in East Haarlem: 5eKwartier and the Story Kitchen 107 7. Making sense 133 References 145 2 3 1. The Community Arts Lab 4 5 The original idea for setting up Vrede van Utrecht’s Community Arts Lab came from Henk Scholten in the spring of 2005. Having recently moved from his position as director of Utrecht’s municipal theatre to become the director of Vrede van Utrecht (Treaty of Utrecht), he joined a coach tour organised in May by community theatre group Stut that visited various community arts projects in the Overvecht, Ondiep and Zuilen areas of Utrecht. It was on this trip that he asked Rien Sprenger to develop the internationally focused community arts lab that is now known as CAL-Utrecht. And who is Rien, you might ask? You can see him in the photo – he’s the modest- looking fellow wearing glasses and a hi-viz jacket, helping to carrying the statue of Sint Maarten. For many years he directed the theatre and drama department at the Utrecht School of the Arts. Before that he worked in Nicaragua and he was the driving force behind multicultural theatre venue Rasa. Over the past 30 years he has sat on countless boards of cultural enterprises in Utrecht and elsewhere. He is a big-hearted, community-minded man with a relentless urge to connect and a heart for art in all its manifestations. He is of incalculable value to the cultural sector in our city and the province. I daren’t use the past tense here, because Rien is simply unstoppable. That’s the sort of man we’re talking about. One of the rst activities CAL-Utrecht’s “midhusband” organised, in November 2005, was a three-day visit by the celebrated community-oriented theatre group Los Angeles Poverty Department (LAPD). It was to be the rst step in an international search for inspi- ration for those operating in the community arts in Utrecht. Ever since, CAL-Utrecht has been well served by this dual focus on local immersion in Utrecht and the gathering of knowledge and expertise from elsewhere. I was living on Aruba from June 2004 to June 2006, but just happened to be making a stop-off in the Netherlands in November 2005. Rien talked to me enthusiastically about LAPD and the plans for a major international event in November 2006. He asked if I would like to take part. My family and I were already planning our return to the Netherlands, so the timing was perfect. On 15 March 2006, I attended a meeting held by an advisory group charged with the task of setting up CAL-Utrecht’s rst international event.1 By the summer of that year I was back and permanently settled at home in the Netherlands, and the process was gathering pace. There was a constant buzz of activity at our of ce in the attic on Neude square, above what is now the Douwe Egberts café. The four-member project team comprised Rien, Jet Vos, Maria van Bakelen and myself. We mobilised our networks to help put together the strongest possible programme of events for the following November. 1 The members of this “editorial board” were Jet Vos (HKU), Thera Jonker (HKU), Jan van Sas (Stut), Jan Sprengers (Dox), Saskia van de Ree (Yo!), Jolanda Kamphuis (Zimihc), Marlies Juffermans (Zimihc), Simon Dove (Springdance) and Maria van Bakelen (Studio Maria P). Meinke Noordam, Nikkie Koper and Annemarie de Jong provided production support. Rien carrying the statue of Sint Maarten. Photo: Anna van Kooij, 2012. 7 And from September onwards, I went out on the road with my video camera to I strongly believed that the individual artist’s personality, artistic preferences and capture the behind-the-scenes stories of several Dutch and Flemish community working method made a very real difference, and that it if we wanted to gain theatre groups. This signalled the tangible beginnings of the research and a more thorough understanding of community arts it would be of crucial impor- documentation work carried out by CAL-Utrecht. tance to document in detail these artists’ motivations and methods. And so it was that CAL-Utrecht prioritised a critical study of artists and their relationship with The section of the programme open to the general public was titled Art in my participants. We wanted to explore the reality behind the statistics and the success Backyard, while the re ective symposium was Whose Play is it Anyway? Our aim was stories that community arts organisations used to justify their grants. to present the broadest possible spectrum of community performance and to examine this practice in the context of shared ownership by participants and The chapters that follow are written in the rst person, but this subjective voice artists alike. And so it was that in the afternoon of Thursday 23 November, Rien represents the multiplicity of individuals and activities that have made CAL-Utrecht and I stood at the entrance to Akademietheater on the Janskerkhof dressed in white what it is today. The original editorial board dissolved after the rst festival, lab coats, welcoming in our rst visitors. François Matarasso kicked off proceedings but Rien Sprenger and I decided to continue together. We bolstered our team with a perceptive and pointed talk in which he traced the contours of the worldwide with Mira Kho, a cultural all-rounder with a proven track record at Rotterdam community arts eld, and explored its ethical dimensions. The days that followed European Capital of Culture 2001, Roots & Routes, and Kosmopolis.2 Mira urged saw panel discussions and seminars re ecting on methodologies, the assumed us to use an upcoming symposium to explore the interface of care and the arts social value of community theatre, development-oriented art in the Third World, when working with children and young people in crisis. The resulting Who Cares the rehabilitative potential of creativity in prisons, and creative partnerships between conference took place on Thursday 20 September 2007 in the Rasa centre for arts organisations and schools. At other times, usually in the evenings, we would world cultures. We coupled a second, public festival to this event in collaboration visit Theater Kikker and the newly opened neighbourhood-based cultural centre with Utrechtse Culturele Zondagen (Utrecht cultural Sundays), a popular monthly Stefanus in Overvecht to see performances from Ecuador, Bosnia, Croatia, Italy and event sponsored by the city. In contrast to our rst festival, for this occasion France, and from the Netherlands work from 5eKwartier, Fort van de Verbeelding, we worked in the local communities, closer to the people we wanted to reach. Yo! Opera, Le Grand Cru, Dox, Growing Up in Public, Stut, Rotterdams It featured one play by the Antwerp-based group Sering in a care facility in Zuilen, Wijktheater and BAF. and another by Bright Richards in the asylum centre in the Oog in Al district of Utrecht. Both were combined with iftar meals. There were also performances This was the rst event we had organised, and even to us it was still sometimes by the Colombian actor Hector Aristizabal in the Oase community centre and unclear where the dividing line lay between ‘hardcore’ community theatre, by Playback Theatre from Grenada in the Kibra Hacha Antillean cultural centre. art therapy for detainees, socially engaged performing arts, arts education and The young makers participating in the Living With Differences (Leven met verschillen) intercultural theatre for young people. But while this rst Community Arts Lab project presented previews of their work at Ondiep, Kwakel swimming pool, and festival left us with far more questions than answers, it did provide us with an Stefanus cultural centre. And at the close of the day, the rst steps were made towards expanded perspective on what could be de ned as community arts – and we simply the creation of a true Utrecht community orchestra with children from North Utrecht, couldn’t wait to explore the subject further. The publication at around the same members of the Zuilen brass band, Tegenwind Street Orchestra, Fort van de time of Sandra Trienekens’ Kunst en Sociaal Engagement (Art and social engagement, Verbeelding and various musicians who had come in specially from Amsterdam. 2006) only con rmed this sense of urgency. Her book demonstrated that although the community arts eld in the Netherlands was growing quickly, it was also I described the Who Cares conference as a “stormy encounter” in an article I wrote fragmented and diffused. The result was that the details were being lost in the for the journal Cogiscope (Van Erven 2007). It all started pleasantly enough with noise of increasingly emphatic demands for indisputable empirical evidence an introductory ritual led by Hector Aristizabal. In next to no time he managed demonstrating the positive social effects of cultural participation. to bring a hundred or so strangers into contact with one another. After that the psychiatric health sector presented its speci c language and approach, and then Although as a man of letters with a more than average interest in the social role the artists from Grenada Playback Theatre introduced their playful dramatic of art I understood these demands, I also had my reservations. My expertise lay idiom. These events took place in relative isolation from one another – as they in the area of documentation and interpretation of artistic processes and the did in the two subsequent workshops – and things seemed to be going pretty well.
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