MAKER’S MANIFESTO

The arts is in deep need of structural change, but positive cultures are created by people. Only by each artist, producer, manager and maker holding ourselves and the projects we are responsible for to high standards can we force the sector as a whole to change culture.

Wholesale change cannot happen without the dedicated commitment of the funding bodies and large organisations - but until that happens, I will be playing my part where I can.

This manifesto is a set of guidelines for me to make clear the types of projects, partnerships, companies and initiatives that I want to be involved with as a theatre maker and community artist - those that are working to contribute to the advancement of the statements below.

The theatre can and should be:

  1. Clearly embedded within and for the local community, rooted in its history, values and priorities. Arts organisations should take a clear interest in the concerns of the people they are funded to serve, and support the local artists on their doorstep.

  2. Accessible to anyone, of any age, in any community. Anyone who has an interest should be able to try theatre and get involved. It must be easier to find opportunities, and low-risk to give it a go. Similarly, those already engaged who want to be more involved should be able to do so.

  3. Transparent in how it is possible to progress into the industry to a professional level (by which I mean being paid to make art), if you want to. This should be via meritocracy, not networks, and it should be acknowledged that professionalising is not the only legitimate route to making good art or being an artist.

  4. Governed by a funding body that has the power to penalise, financially if necessary, organisations or artists who do not operate within a clear and simple Code of Ethics (which currently does not exist); and organisations which are held truly accountable.

  5. Relentlessly focused on the positive experience of the audience, the work of the artist, and the health and wellbeing of the support systems within companies and organisations.

  6. Characterised by emotionally intelligent leadership and committed through clear, demonstrable and committed action, and action-based learning, to tackling racism, sexism, homophobia, transphobia, ableism and discrimination in all its forms.

  7. Producing artist / audience familiarity and making relationship-building possible. This could be through rep seasons, long-term artist residencies or contracts, or another model not yet imagined. Any beneficiary of this model should be subject to scrutiny and re-assessment by an audience panel, not boards or their peers in theatre management.

  8. Financially stable and rewarding for artists and professionals, meaning ‘future earnings’ are not a barrier to young people dreaming of working in the arts. In turn, artists and administrators should be more transparent between each other about their fees, and lobby collectively for better terms.

  9. Accessible through multiple methods with multiple price brackets, and filled with organisational partnerships, initiatives and ticket pairing schemes so that resources are shared and evenly distributed. The pivot to blended activity during the COVID pandemic shows us that this is possible.

MY VALUES

  • Theatre is a community asset and art has the ability to build social, economic and cultural capital

  • Affordability and accessibility with a rich diversity of storytelling

  • Total demolition of hierarchies and old-fashioned networks (perceived or actual)

  • Emotionally intelligent leadership

If you agree with me, or have a project that is working in ways that advance the statements above, I’d love to hear from you.