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The Art of Disobedience. Arts and Politics FRESH PERSPECTIVES/3 www.ietm.org THE ART OF DISOBEDIENCEArts and Politics picture from Top Goon - courtesy of Masasit Mati Daniel Gorman October 2015 in partnership with ISBN: 978-2-9601106-7-8 IETM is supported by: This publication is distributed free of charge and follows the Creative The European Commission support for the production of this publication does not constitute an Commons agreement Attribu- endorsement of the contents which reflects the views only of the authors, and the Commission tion-NonCommercial-NoDerivatives cannot be held responsi ble for any use which may be made of the information contained therein. (CC BY-NC-ND) FRESH PERSPECTIVES www.ietm.org The Art of Disobedience Fresh Perspectives on Arts and Politics by Daniel Gorman Published by IETM - International Network for Contemporary Performing Arts, Brussels In partnership with LIFT Festival October 2015 Editing and general coordination: Elena Di Federico, Nan van Houte (IETM) Proof-reading: Mary Ann deVlieg Graphic layout: Elena Di Federico (IETM) on a template by JosWorld This publication is distributed free of charge and follows the Creative Commons agreement Attribution-NonCommercial-NoDerivatives (CC BY-NC-ND). You are free to reuse and share this publication or parts of it as long as you mention the original source. This publication should be mentioned as follows: D. Gorman, “The Art of Disobedience. Fresh Perspectives on Arts and Politics”, IETM, Brussels, October 2015. Link: https://www.ietm. org/en/publications For further information please contact [email protected] The publishers have made every effort to secure permission to reproduce pictures protected by copyright. IETM will be pleased to make good any omissions brought to their attention in future editions of this publication. THE ART OF DISOBEDIENCE FRESH PERSPECTIVES www.ietm.org Table of contents Picture from the exhibition ‘Disobedient Objects’ at Victoria and Albert Museum, London, 2015 (from Urban75blog) About 3 01. INTRODUCTION 4 03. 05. TOWARDS A BETTER World – THE LIMITS OF ART? BOYCOTT AS A CREATIVE ART AND CITIZENSHIP 10 PROCESS 19 02. We’re attempting to confront ourselves Oil and the Arts 20 and our audiences - PanoDrama 13 Everyone draws a line somewhere – WHAT USE ARE THE ARTS Teatro Valle (Italy) 14 Liberate Tate 21 Art {is} a radical imaginative space ‘more Boycott, Divestment and Sanctions 22 WHEN YOUR COUNTRY IS political than politics itself’ - Jonas Staal 15 This boycott … should open dialogue – Help people see themselves in the Other - Boycott from Within 22 BURNING? 5 Eugenia Tzirtzilaki 16 All collaborations need to recognise the power on which they are based - In Place of War 6 Art is always a symbolic act – 06. Milo Rau 7 04. CONCLUSIONS AND We see theatre as infinite possibilites – ART IN THE PUBLIC SPACE 17 Belarus Free Theatre 8 RECOMMENDATIONS 24 Lampoon the ultimate red lines – It’s pointless if disobedience is purely sym- Masasit Mati 9 bolic - Lab of ii 18 Resources 25 2 THE ART OF DISOBEDIENCE FRESH PERSPECTIVES www.ietm.org About IETM is a dynamic, engaged and forward-looking network for the performing arts sector as well as a resource and reference point for innovative contemporary art. IETM con- While preparing this publication on arts world? Can you accept funding for your arts sists of over 550 subscribing professional and politics we came across countless art- coming from ethically controversial spon- performing arts organisations from more ists and artworks dealing with the issue, sors? Is it ‘right’ to call for the cultural boy- than 50 countries. They are engaged in and a number of publications approach- cott of a country? innovative, contemporary performance ing the question from different – often work and are committed to cross-border complementary, sometimes contradictory For this publication we wish to thank all artistic exchange and collaboration. – perspectives. We also soon realised that those who replied to our call for contri- arts and politics are inextricably linked to butions: Alexander Manuiloff (BG); Alicia other topics like gender, globalisation, envi- Talbot (AU); Ania Obolewicz (UK); Belarus ronment and economy, which are all topics Free Theatre (BY-UK); Bill Aitchison of separate publications in this same Fresh (UK); Brigid Pasco (US); Cynthia Cohen LIFT Perspectives series. This publication deals (US); Deborah Pearson (UK); Diana Arce with the fundamental questions linked to (US); Eugenio Amaya (ES); Fabio Biondi For over three decades LIFT has presented engaged arts and, as such, it works as the (IT); Gabor Takacs (HU); George Sachinis the stories of the world to every corner and central tile of a puzzle, with a little corner in (GR); Igor Stiks (UK); Jaime López Molina community of London, supporting and nur- common with each of the other IETM pub- (ES); Jenny Svensson (NO); Jesus Algovi turing artists and organisations who have lications - planned and already published. (ES); Joseph O’Farrell (UK); Kate Nelson changed the landscape of arts practice in (UK); Liz Pugh (UK); María María Acha- the UK. The core values of LIFT remain However, during the process, we also felt Kutscher (MX); Marton Oblath (HU); constant: LIFT is passionate about provid- that the more we found out about artis- Mehdi Farajpour (FR); Mel Cheong (MO); ing opportunities that develop the talent, tic practices struggling to create a better Michael Walling (UK); Nabil Ahmed (YE); skills and creativity of artists and young world, the more we witnessed real-life Nazli Tabatabai-Khatambakhsh (UK); people and that break down the barriers politics miserably fail when confronted to Nicolas Bertrand (FR); Nil Dinc (FR); to participation in the arts. LIFT champions increasingly dramatic humanitarian trag- Pamela Cohn (DE); Paula McFetridge (UK); international cultural exchange, supporting edies, like the thousands of people desper- Pedro Manuel (NL); Ragna Weisteen (SE); artists from the UK and around the world ately knocking at Europe’s doors, fleeing Rosie Kay (UK); Samuel Erskine (UK); Sarah to create and share work with London’s from endless wars whose reasons we can- Günther (HU); Sean-Poul de Fré Gres (DK); diverse audiences that explores the big not grasp anymore (if ever war had a plau- Sergej Korsakov (RU); Stefania Zepponi ideas and important stories of our times. sible reason). It took courage, experience (IT); Tania El Khoury (UK-LB); Todd Lester and lucidity to work out a text that could (US); Whitney Dufrene (US). fairly present the complexity of the topic, not giving in to pessimism, and providing Special thanks to the artists and cul- food for thought both for seasoned prac- tural professionals who agreed to reply titioners and for beginners in the arena of to precise questions via skype or e-mail: DANIEL GORMAN politically engaged arts. Alexandros Mistriotis (GR); Anna Lengyel (HU); Bernadette Buckley (UK); Carlos Daniel Gorman is an arts consultant, We are grateful to our partner LIFT – Costa (PT); Donatella Della Ratta (IT-SY); researcher and producer whose work London International Festival of Theatre Eugenia Tzirtzilaki (GR); James Thompson focuses on increasing dialogue, commu- for suggesting artist, cultural manager and (UK); Jeannie Park (ID); Jessica Litwak nication and collaboration, while promot- activist Daniel Gorman as the author of (US); John Jordan (UK); Jumana Al-Yasiri ing social justice and equality through this challenging publication. Talking from (SY-IQ); Liberate Tate (UK); Masasit Mati the arts. He holds an MSc in Middle East his own practical experience in Europe and (SY); Milo Rau (CH); Patricia Kistenmacher Politics from the University of London, is in zones in times of conflict he takes us on (AR); Sarah Spanton (UK); Yael Lerer (IS). festival director of Shubbak: A Window on a journey through four crucial questions: Contemporary Arab Culture and is a co- What use are the arts when your country is founder of Highlight Arts, an organisation burning? Can the arts help to build a better which works in collaboration with artists in areas in times of conflict. 3 THE ART OF DISOBEDIENCE FRESH PERSPECTIVES www.ietm.org Artists have power. The power not just to create, but also to transform. For as long as from discussion with those responding to ‘art’ has existed, it has been ‘socially-engaged’. Political art, socially-engaged art, art our call. Following this introduction, the activism, is nothing new. We could, for example, count several ancient Greek plays second chapter confronts us with artists as the work of ‘political activists’. Performing arts and satire played huge roles in rev- working in, or about, areas of conflict and olutionary Europe and in the Russian Revolution 1917. Work critical of the Soviet with the question What use are the arts when Union continued in all countries behind the Iron Curtain. Meanwhile across Western your country is burning? The third chapter Europe and North America theatre and dance reflected on and engaged with eman- looks at artistic projects that let the audi- cipatory movements throughout the 1950s and 1960s and onwards. Collectives like ence reflect on controversial topics ignored the Situationist International and Fluxus challenged and interrogated the role of art or manipulated by the mainstream media, in society. Individual artists engaged topics ranging from women’s liberation to race thus enhancing discussions and demo- equality, from an end to colonial rule to LGBTQ rights. The 2000s have provided equally cratic participation – moving Towards a fertile ground, as artists and political struggles have become more connected across better world. The fourth chapter focuses on political or geographic barriers. the use of Arts in the public space, a political space by definition. The last chapter ques- tions The limits of arts by looking at the case There are many available studies and dis- of boycotts, whether dialogue has to stop cussions focusing on the theoretical rela- when the arts become a tool to protest a 01.
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