If you could build a better world what would it look like?
Gretel wants to live in a better world. She dreams of her perfect place -a Utopia to hope for. This piece of spoken word incorporating song, was inspired by ideas gathered in workshops gather with children and their families over 2022.
A Utopian world building workshop is available to book exploring children’s identity and values and Fantasy and Science Fiction Genres. You can read more about workshops here.
Informed by ideas gathered in workshops with young people and children, Red: A Dystopian Fairy Tale is a spoken word piece about an imagined futuristic world ruled by a totalitarian regime known as Mother.
A world building workshop is available to book exploring Dystopian fiction. You can read more about workshops here.
I am sat reflecting on how many times I have talked about codes over the last year. Appealing to my inner child to write in that invisible ink that only shows up under UV light. Or writing letters backwards to create a secret language or drawing shapes to replace the alphabet.
This last year when I have designed workshops for children, I have looked at code breaking and code generating over and over again. At first I thought that this was something I was doing because it was easy to move it online. Teaching children over zoom is a challenge. I wanted an activity to hold their focus. Something that felt small and intimate as an act but would have their imaginations reeling at the possibilities. The more I thought about 8 year old me and 8 year old them, the more that I knew it was the right way to go. Some of them had already done it before. It did not matter. It was a chance to find a common tongue. If I write a secret message in numbers can you crack it? If I mix up the words in a sentence can you unscramble it? What code would you write in? And then we jumped to symbols and talked about hieroglyphics. And even though we are all sat in our homes, gazing into another screen, we find the thing that we couldn’t have in real life. We find an escape. Amongst the cats or dogs or snacks or piles of toys, paper, washing. The debris of our life surrounds us and yet we are somewhere else. Together. Writing codes and discovering a new way to communicate.
But this time fades, the world unfurls and unfolds. The toys go back in their box, the washing away in the draws, the paper into the recycling bin. We go out, back into reality and school and work. Grateful for the demand of onscreen time to drop, grateful for our children.
There was something powerful though. Something to be understood about the possibility of languages and communication. And I stared at the different codes explored and invented over the last year, I felt a pull back to something fundamental – Our human desire to communicate and understand.
So in a time when we are constantly and maybe desperately looking forward, let’s go back to when that great wave of migration sweeps through Europe. Let’s go back to wood and stone and ancient inscriptions carved into plates, jewellery and those giant rune stones. Portals to another place.
One of the earliest written text, Elder Futhark – a series of different symbols that represent something close to our own alphabet. These sharp and angular shapes, known also as Runes, are loaded with meaning. They represented Gods and Goddesses, elements and nature, daily life and the human condition. They could be read as an alphabet or they could be placed together to create some other meaning. They could be cast in a manner that would allow you to predict the future if in the hands of a Rune Reader or Sage. They were very open to interpretation.
They come with some gate keeping. For some, they are relics from history and for others they hold weight, magic and other worldly powers. Some see them as just strange marks. For me, an opportunity to play.
I have been playing with them for the last two weeks, exploring their shapes and their meaning. Layering them up and flipping them round. When reversed they have different meanings. At the same time I have been reflecting on my practice and pulling all my ideas together and there are some common connections betweens the Runes that I kept coming back to and the sketches and poems that are up on the studio wall.
The first was change. I can see that my work follows the shifts, some for the better and some for the worse. Some changes are linear, others are cyclical. The waxing and waning on the moon, the mushrooms emerging and disappearing, our bodies – heart beating, blood pumping, ageing towards dust. The chance to jump off or step furtively forwards. The changes we want and we don’t. The changes that confine and challenge us and the changes that open us up.
In the Runes, Dagaz represents breakthrough. An awakening and awareness. A transformation. There is certainty to it – hope and happiness, growth and release, day break, a balance point where two opposites meet. Working creatively gives us space to shift and change the way we see the world.
The next was Home with all of its complexities. That home will define us and to make healthy changes we need to feel that we belong somewhere. Our home could be bricks and mortar, twigs and feathers, the town where we live, or the country we come from. Our sense of home defines how we move forward.
The Rune that covers this for me was Othala. Its first meaning is ancestral home. Further inspection reveals a meaning of our fundamental values, our source of support and safety, what really matters to us. When I work creatively I want to feel safe. In workshops, the safer people feel, the more secure they are in the room, the more they will take those creative risks. Creativity can flourish if we feel safe, ideas can flow if we feel like we belong.
I saw in my writing and sketches the grasping for courage and in fact creating something in the first place is an act of courage. No lions may be encountered along the way, but who hasn’t heard the negative impostor voice telling you that the whole creative act is pointless and who really cares anyway? I certainly have. A quality I greatly admire in others is the courage to share the story in whatever form suits them.
In the Runes, Uruz represents strength and untamed potential. It can represent a time of great energy, health and freedom. It can mean tenacity and wisdom and the formulation of self. Watching rooms of all shapes and sizes, ages and stages over the last few years, I see that I am lucky to witness those acts of strength and bravery. As individuals change their attitudes from apologising to acceptance, as they take those creative steps into getting know themselves, the world unravels the messy knots we can tie ourselves in and reveals the threads of possibility.
So after a bit of play, I settled into this new discovery of myself and my values. I settled on a new logo.
The Othala and Dagaz combined to create a house where change is possible. The Uruz a small doorway, because everyone know it takes a little bit of courage to step through and build bridges to belonging.
The world always changes. Even in ways that may not always be visible to us and if we let ourselves, then we change too. Sometimes other people hold us back and at other times we may let them. Some stories survive all those changes and serve us. They deepen our understanding of the way we experience the world, even if we live in a different time and place entirely. Those stories belong to us all and the way we tell them tells us something about the teller themselves. So here is an offering, in this time of transformation, to hopefully help make sense of this jumbled world.
You already know this story.
A lonely man, they always are.
He found it hard to connect to others and yet he could see their joy within their families and that their hearts were full and he wanted that. He saw their heads thrown back in laughter and when out walking the weather beaten coastal paths at dusk, the warm glow of a well attended hearth spilled out of small cottage windows, and he wanted that.
In the village, he witnessed lovers walking hand in hand, eyes missing the surrounding gray world, lost deeply to each other and the promises of the happy lives they were going to have together. And he wanted that.
But time passed and as he stitched the torn nets of local fishermen, he never made a catch. With each stitch into each net his heart shrunk, his gut grew and the lines of loneliness and frustration deepened. He had never been small, even as a boy, but now he was broad and tall – a hulking mass of a man. And as he swelled the women in the village were lost to him and carried into calmer waters on a more comfortable boat. They didn’t want him.
So the man grew solitary and short tempered, his language coarse with under use and his voice carried a bark- the kind you’d hear in an agitated dog.
One evening, as the sun slipped below the surface of the sea and the moon swelled like an empty, expectant plate, the man took a turn off his usual clifftop path and carefully picked his way over the rocks that were always shifting in the cliff face. He descended down towards the smaller smooth stones that washed up on the shoreline.
He starred out to sea – what was the point of a man so lonely? He pulled off his boots and decided he would swim till he could swim no more. Until he would slip silently beneath the waves. And this resolve, this feeling of holding a destination in his mind, this decision lifted his eyes. What a beautiful place to die. His skin felt the wind blowing through his threadbare unpatched clothes. He tasted the salt heavy in the air and he heard the wind singing. Or did he? Amongst the whistling wind, he heard laughter and shouts and multiple voices. He wasn’t alone, somewhere nearby was a group of people. He turned towards the voices and understood that they were coming from a small inlet surrounded by rocks – a perfect place, protected from the elements. He walked over and not wanting to be seen he crawled the final section and peered through the cracks in the rocks.
A group of naked women were laughing. Their white skin seemed to glow in the moonlight, like they had a bright and brilliant light within them. The man was filled with longing, his mind turned to his empty house, his empty life, his empty heart. What life he could have if his house could be filled with such radiance. How freely these women danced and sang and swam. He quietly climbed higher to get a better look, keen to not get caught.
That is when he saw the skins – silver blotted with darker patches. They were all an arms length away from him. Seal skins. He counted them. One, two, three, four, five, six, seven. He counted the women – One, two, three, four, five, six, seven. These women had not arrived on foot over land. They had come from the sea and shed their velvety skin to dance upon the sands freely under a full moon. His longing turned from want to need to must have. He was going to have one, just one, of those women, just one of those magical selkie women would be enough. He reached out and with thick fingers grabbed the nearest skin. It felt soft and thick like a scarf hugging your neck or a sleeping kitten. He pulled himself back to his hiding place behind the rocks and stuffed the skin under his jumper. He waited wondering which woman would belong to him.
One by one, the women returned to their skins, a gray dawn was arriving over the cliftops. It was time to return home to the sea. They pulled on their skins and slipped into the incoming tide, till only one woman remained. She searched but could not find her skin. She called to her sisters to help her but they had disappeared beneath the waves. She called and searched and called and searched until her heart grew weary and the man watched and watched, waiting for the moment when her hope would disappear.
Soon enough, the woman gave up. She sank down to the rock beneath her, hugging her knees to her chest.
The man stepped out from his hiding place.
‘I have your skin.’ he said.
The selkie woman shivered from the cold, the exposure, from the man that towered over her.
‘Come with me.’ he said. ‘I can give you a good life.’
‘I have a good life.’ she replied. ‘Swimming with my sisters. Please give me back my skin.’
The man’s longing burned. He thought how much better his life would be for having her in it.
‘Stay with me, for 7 years. For 7 years be my wife. After those seven years have passed, I will return your skin to you. The woman thought what else could she do but accept his offer. She could not return to the sea without her skin to protect her and she could not fight a man so large. What was 7 years in a life that could stretch to 100. She agreed. The man greedily snatched her up. He set her on her feet and helped her down from the rocks. He took off his coat and wrapped it around her shoulders.
The coat felt strange – coarse against her skin and the smell was odd like smoke, but what does a woman of the sea know of fire? She followed him as he led her back up off the beach and up the cliff and along the path to his village by the harbour. And there in a tumbledown cottage they made a life and the man softened, although those years of jagged loneliness could never really be smoothed.
She wore the dresses he bought her and looked like a normal wife despite not knowing the ways of a kitchen. Her belly soon swelled and carried out into the world, on a tide of fear, a child was born. A girl. The child was human. She bore no sign of being Selkie. Now the woman was tied to land in a way that was larger than the deal struck on the beach.
Seven years passed. The girl was fed on stories of sea caves and creatures. She was hushed to sleep with the songs of whales and seaweed and water. The child grew well. Rosy skinned and full bodied in fine fettle. The woman waned. Her skin became dryer and dryer until it cracked and her eyes suffered. The world turned into colour and indistinguishable shapes. The woman loved her child, but the longing to be back in the sea with her own kind was causing her body to shut down.
As the seventh year drew to a close, she turned to the man and asked for her skin to be returned to her. The girl, whose parents thought she was asleep, heard the conversation between her parents.
‘7 years have passed. It is time for my skin to be returned to me.’ said the woman.
The man’s fear of being alone reared its ugly head. Left with a young girl to raise without a woman to guide her in things he did not know or understand.
‘I cannot give your skin back to you.’ he said.’ I cannot lose you to the sea.I cannot once again be alone.’
‘You will lose me, with or without returning my skin. I cannot survive here. I am fading fast. To keep me here is to kill me.’
‘What of your child? Do you not love her?’
‘ I love her with all of my body, but my body is weak and I cannot be there for her in death.’
The man shook his head. ‘You belong to me. You are mine and mine alone. I will not give you your skin. Filled with darkness, the man left the house. The woman silently mourned the fight she didn’t have 7 years earlier, now too weak, 7 years on to fight.
The girl having heard all of the exchange was horrified. She didn’t want her mother to die. For days her thoughts swilled a round and a round in her head. What could she do? How could she save her mother?
Meanwhile the woman became extremely frail. Her skin was carved up into patterns like contours and borders on a map. Her sight reduced to near blackness. Her heart, already weakened from the years out of the water, out of her skin and away from home, beat like a fading drum.
The girl drank it all in, She saw her fathers impatience and his snap at this sad, frail woman that he now had for a wife. She saw her mother shrinking and despite being young in years, she knew that her mother was dying.
One full mooned night, while the girl sat drinking in the blackness of the night and the blackness of her thoughts she heard a song on the wind. Her small bedroom rattled as the song found its way through the grains of wood holding the pane of glass in place.
She quietly tip-toed down the stairs on soft slippered feet and made her way to the front door. After Pulling on her woollen hat and mittens and sheepskin lined coat she stepped out into the night. The song was louder out in the harbour. The wind blew from the north west along the coastal path . she followed the sound as she followed the song became louder and the girl grew in confidence, knowing that each step along the path meant discovering answers. Down onto the beach that had been the meeting place for her parents, 7 years earlier. She stopped and looked out to the sea where her mother came from. She felt a pull in her heart, a pull to walk into the waves and never feel land again under her feet , just like her father 7 years before.
But the song called soothingly from behind some rocks further along the beach. So she followed, scrambling over giant rocks, slippery with seaweed in soft slippers. There lying on the rock below was a seal skin. It was bedraggled and torn in places. Its silver shine reduced to an asphalt gray. The girl knew it was the skin of her mother. Carefully she picked up the skin – it felt as frail as tissue paper. She folded it up with great care and tucked it into her coat.
Dawn was now breaking from behind the cliffs. So the girl picked her path back over the rocks and up the beach. Back along the path and down to the small village by the harbour. The boats were gone, carrying the men in the village out to sea for the morning catch. The girl made her way to the cottage where she lived and found her mother luging in bed. Eyes open yet unseeing.
The girl guided her mothers hands to the seal skin and even though it had been years and even though the soft velvety skin had decayed and even though the woman was as sightless as a moonlit night, she recognised the skin. For who doesn’t know how it feels to come home?
Tears fell from the woman’s eyes dropping like patchwork upon the skin and with each tear the skiing seemed to become healthier. The girl watched as her mother cradled the skin in her arms just like she had cradled her daughter as a baby. She sang weakly aat first, her voice keening, breaking with the heartache of absence and the joy of the return.
With help from her daughter the woman shuffled from the house and along the headland. Down from the cliffs and onto the beach. There she removed her nightgown and pulled on her skin. The girl watched wrapping her mother’s nightgown around her neck for change is hard and small comforts help.
Before her eyes, her mother was a seal and the girl knew this was how it was meant to be. Awkwardly the two made their way to where the salty water kissed the waves, splashing and laughing in the shallows. Further out they went and soon the girl had wrapped her arms around her seal mothers neck . The seal mother turned and breathed air over her daughter and soon enough they were diving down deeper and deeper and the girl breathed as though she was above the surface. They came to an underground cave. They swam through arriving in a vast cavern filled with other seals, other selkies who all turned to see who had entered.
A stillness descended and slowly an elderly seal swam towards the seal mother and the girl. There was recognition and acceptance. There was grief and celebration. Before long the child had to be taken back to land for she was not Selkie, nor human. The elderly seal and her mother returned her to the shoreline. The child walked onto a beach forever changed by the homecoming she had witnessed and the journey beneath the waves. She belongs to transformation. Wherever transition took place. She was a sliding scale, perpetual movement. A cycle of breath. She was autumn leaves and spring buds, dawn and dusk, bears emerging from a long winter’s hibernation, pine trees kissing the sky and the sea embracing the land. She was her mother and her father, she was soul and ego and she could navigate an edge- her curiosity overcoming her fear.
And she grew and as she grew she listened, knowing that the world turns and time passes and people change. And people came and they listened to her stories and for the short time that they listened they found peace within and without. She told and listened and listened and told and she saw that the world was an unending cycle of wonder.
Watching Peggy Seeger’s singing, I hear the voice of the many older women who I am lucky to have in my life. I have been running creative writing workshops for Davenham Theatre and through Stitch. It really strikes me that the majority of participants are women who are over the age of 55. These workshops are open to anyone to come and yet we see these women loyally attend. They are grateful and positive and tell me that they get so much from the sessions.
But here is something that I think these women would struggle to accept from me. They have amazing insight, they care so deeply about the world they inhabit and their stories are beautifully compelling. It is a gift to spend a couple of hours with these women and listen to their thoughts. I have this amazing tribe that are now my friends.
One of the challenges that many writers face is the fear that anyone will find their work interesting or relevant, it is certainly something I feel at times. However this feeling is rife in this community of women and I think when you listen to Peggy Seeger singing, you can understand why.
My own mum told me that as she has got older, her visibility has dropped. That people pass her by without even seeing her. During the Covid Pandemic, we have all been locked away from each other, unable to meet up in public spaces. Those shielding even more so. We have collectively lost sight of many who are not in our immediate circles. The Invisible turned into memory.
As we emerge from this lockdown and Britain reopens its doors, let’s make sure we have room for everyone at the table. If you are an older woman who is feeling invisible, please tell your story. We need the grandmother’s wisdom now more than ever. If you are not an older woman, pull up a seat and look at ways to ask and listen. Let their stories inspire your story. You’ll feel richer as a result.
The term collective curiosity has been swilling around my brain for the last week. I think as we are for the most part currently sat in our homes, it can be hard to connect with what other people are wondering about.
One of the things I love about running creative workshops is hearing that amongst the different views and voices and experiences that make up a room, we can normally find a sense of collective curiosity. Collective curiosity is the notion that we have shared ideas that we all wonder about. The power of this collective curiosity is not to be sniffed at. The room could have different opinions, unique takes and understanding, but the feeling that you are all explorers, learners, creators unites the room.
“Curiosity is the engine of Achievement.”
Sir Ken Robinson
I have been delivering online workshops for the past 6 months. Yes, there have been things that are not as easy. Yes, it has been difficult not connecting and being in the room altogether. As a lover of people, I have found this enormously hard. However, there is still the sanctuary of coming together, creating and engaging a shared curiosity.
So if you have been sat at the edge of the pool, looking at that refreshing water and wondering whether it is worth dipping your toe, dive in. The water is just the right temperature and lifeguards are on hand.
There are many artists and organisations offering ways to engage. I promise that it is worth coming and stretching those creative muscles and finding a collective curiosity.
I am thirsty and I am in the desert. I am not sure how I came to being in the desert. At one point I was in a room full of people. Some of those people where those that I love and some were people that I hadn’t met yet. The room was full.
Then someone turned out the light. The colour drained to blackness, the noise of all of those voices were silent, I couldn’t see. I didn’t seem able to move. No I could move, but I might as well of not bothered because it remained black. Sometimes the sound of my own breath was deafening. I slept and slept and slept.
When I woke I was in the desert. The light was bright to begin with. The sun burning my eyeballs. I had to cover my eyes with my hands and let my vision adjust from darkness to light.
Sand got everywhere. Everywhere. In my mouth, up my nose, in my ears and the fibres of my clothes. I didn’t notice that I was thirsty then. Although I probably was. I was dealing with the sand. So I lifted my t-shirt over my nose. To stop the sand blowing into my mouth. The days were hot.
The night was cold and long. Sleep escaped me. Underneath that blanket of infinite stars that shone in the velvet blue sky, I felt lonely.
I am haunted by memories of place where space was held for thoughts, beliefs, experiences. Where things were weaved, stitched, spoken, drawn, constructed. Where people came together.
I am in the desert and I have been here for some time. I have tried walking forward. Tried to find water. Tried to find people. I guess I need help. I think others may be in a desert too. So maybe be if we shout into the silent night sky and sign our names in the sand, we can find water. Water for everyone.
An open letter can be found here that asks Secretary of State for Culture, Media and Sport, and to the board and staff of Arts Council England to open a dialogue about the problems facing community arts. If you are a community artist or an arts organisation that supports participatory arts, you may want to add your voice.
If you are not a community artist, but want to support, please consider writing to your M.P. and/or the Secretary of State for Culture, Media and Sport. It may be helpful to talk about your experiences as a participant on a community arts project.You can find their detail and write to them here.
This afternoon, I entered into a Zoom meeting with composer and musician Tayo Akinbode, hosted by Z-Arts. Being a storyteller, can be a lonely process and we are living in a lonely time, so it was great to hear about how Tayo creates music to tell a story.
One of the thoughts that regularly swills around my head is around the difference and similarities between working with children or adults. It’s a question I get asked regularly moving between these different groups that I work with. It leaves me a bit stumped as other then a slight modification of language, there is no difference. Children laugh and so do adults. Adults struggle crossing the creative threshold and so do children. Both children and adults want to hear and tell stories. So it is a relief to hear someone as experienced as Tayo say ‘I wouldn’t dumb down music for children.’
I have finished writing the story of my family ancestors. A project I was inspired to start after working with Emily O’Shea company, On The Border. I am now in the process of editing the story into an audio experience and it is a relief to be piecing the story together. The writing process has been difficult. The vision I sat down with was to create a piece of audio storytelling about my great-grandparents. They were performers at the turn on the 20th century who went on to manage some of the first variety cinema’s in the country (a mixture between Music Hall and Cinema). Before I sat down to research, this part of my family had mythical qualities. I wanted to use Music Hall numbers in order to help tell their story. I wanted this to be a piece for family audiences. Something that could be enjoyed with everyone – an intergenerational activity. That you could listen at a distance together with your elderly granny who is shielding and your 8 year old nephew who is home schooling. That it would open up conversations about family stories in a way that I could not have with my own grandparents. I was going to use this idea to develop my creative practice, to experiment and play.
But the doubts creep in. Will children get this? Is the music too bawdy? Am I just inventing truths that I cannot find? Is this material appropriate for family audiences? Nothing kills playtime like doubt and nothing makes experimentation more pointless then isolation. So thanks to Z-Arts for providing connection and thanks to Tayo for grounding me and reminding me that children are no different from the rest of us, which in my wobbly, lonely, creative moments I forget.
I grew up in Reading and we had family down in Bath. When we drove down to see them in Bath, my Dad would play Peter Gabriel’s albums. We loved the track, Solsbury Hill. We used to drive past Solsbury Hill on the route to see our family. We used to climb up it (when you could). We loved that song. We’d ask for more Peter Gabriel. We’d listen Red Rain, Don’t Give Up and Games without Frontiers. We did not hear the loaded political meaning in these songs. We didn’t here the meanings that I as an adult now hear. Tayo told us today ‘Children like Music.’ Its a simple statement, but it is an easy one to make. No matter how much I see my children request Michael Jackson (their Dad’s favourite) or sing along to Fleetwood Mac (Rumours is my go to Album), in my artistic process my lived knowledge gets crowded out by my doubts over how to execute an idea. I managed to create children into something ‘other.’
That is why I love working creatively with children. They remind me that we are all not that different from each other. I’m looking forward to Z- Arts opening their doors again so I can be reminded of this by the real child experts, the children themselves. Until then, I will keep going. Clumsily put one foot in front of the other.
After all music is music to be made, all stories are stories waiting to be told and all humans are humans waiting to be heard, no matter their size.
This project am I am working on has bee made possible by funding from the Arts Council Emergency Response Fund. The funding has allowed me time to develop my skills, conduct research and connect to other artists. My thanks go to Z-Arts for providing free access to these conversations and understanding that these conversations are needed.
There is truth that artists are encouraged to access their inner child to cultivate their creativity. I am sure that you have heard this or something along those lines in the past. I get where it comes from. As artists we need to have intuition, knowledge, curiosity and a playful approach to our creative practices. However this phrase does a little disservice to children themselves.
Around the country and maybe even the world, there is an uptake in home learning. There is an understanding that children need to be practicing something creative. It will be engaging, they will have fun and they may even use some additional skills that will bring in the more formal elements of a child’s learning. Those elements that as a society we seem to prize above all other things – English and Maths! Oh, for a dismantlement of this structure. However this is not the blog that I am going to write.
Picasso and Lennon, two of the biggest creative talents of the 20th Century, told us that all children are artists. I am not going to disagree with them. I think we are capable of creating art, but there is a trend I have observed in children and adults alike, in my community practice. Whether we are making maps, retelling tales, meeting new characters, writing lists. Whether they are 8 or 80, a blank page empties the mind. Everyone is full of fears and doubts that block imagination and stamp the message on the inside of their forehead “Art is not for you.”
The thing is because artists are encouraged to access theor inner child and because we have all seen the quote art ‘Every child is an Artist”, which Picasso may have not actually said, we seem to think that children can create something out of nothing.
Children are not creative machines. No one is. It takes time, space, love, inspiration, commitment and play to create. That is all tiring. Sometimes we need to rest, reflect, dream. The truest thing I know as a community artist is that we are all capable of creating with enough encouragement. So what have we all discovered in our creative fervour that has been poured out since lockdown begun in March?
I have found that my expectations on my own children are not what I have for the children I teach. In the early weeks of lockdown. We made rainbows and dragons and mermaids and masks and puppets and pictures. We made them and then they were abandoned. They clutter up the corners of our messy home, gathering dust. I quietly slip them into the bin, a crafty craft post bedtime cull. These outcome based activities passed the time. Sometimes we were really happy to do these tasks and sometimes we made things with my parents over video chat and sometimes we were very cross when we created. I see now that it is forced. I as a maker would find this wearing to never control what I create. I wouldn’t feel proud all the time. I wouldn’t always be interested. If this was my exposure to creating, I would feel very controlled.
Crafting is important. Through doing this we learn how to cut, stick, stitch, sketch, tie, weave. These are important skills for children to have and skills that children don’t get a lot of time to practice once they are in the confines of the National Curriculum. It is vital that children get this practice in. But copying a craft made by someone else is not necessarily a development of our children’s creativity.
So where is the balance? What is the answer? We have to find the mid-ground. We have to provide the opportunity for our children to create. We have to listen to our children and follow their interests. We have to expose our children to ideas. The good news is that ideas are everywhere – games, tv, books, magazines, the natural world. We might have to provide some materials for our children to create with. We then have to let children own their process.
One of the things my youngest daughter loves is her torn paper. We have a box of scrap paper. This box includes old leaflets, envelopes, packaging. If we cut something out of a clean piece of paper we put the cuttings we don’t use into the paper box. But this is not the paper my daughter is interested in. She found some paper from a pastel coloured paper pad. And she tore them up. She stored them in a basket. She places them in little piles on the battered lid of an old gift box. She sorts them very neatly. They’re her cupcakes that she’s made or food for her animals or insects in her garden. It’s annoying at times, to trip or slip over this. It looks a mess. I could dismiss this as rubbish. Tell her to stop tearing up the new paper and use the communal torn paper box. TO STOP LEAVING IT ALL. OVER. THE. HOUSE. If I did this, I would be shutting her off from her creative practice.
The good news is we can all aid children to be creative, but we need to stop expecting creativity to pour out of them. We need to understand that the barriers we have to creativity, are the same barriers that children have. We need to understand that for as long as we focus on products above processes we aiding the shutting down of our children’s creativity. We need to understand that we will never innovate if we are first not inspired to do so.
‘People. Just the idea that the individual is capable of looking after himself, that we don’t need centralized government, that we don’t need father-figures and leaders, that every child is an artist until he’s told he’s not an artist that every person is great until some demagogue makes him less great.’
The actual quote by John Lennon, said in response to what should replace society’s hierarchical model of functioning- Penthouse Magazine, 1969.
If you are someone who sweats at the word ‘creative’ and feels it is a word so utterly other to you, you are allowed to not use that word. Try ‘experiment’ or ‘play’ or ‘investigate’ or ‘build.’ You have all the intuition to lead your child towards creativity, and knowledge will come with practice. If you’re in doubt as to where to begin, go for a walk and let your child lead you.
This time, more then ever we need stories. Many famous and more intelligent thinkers and writers than me say that after shelter, food and air we need stories. We need stories to listen to and we need stories to tell. But after numerous conversations with friends, peers, fellow artists and family I see a similar trait in behaviour and it’s linked to the way we tell stories.
“We don’t need a list of rights and wrongs, tables of dos and don’ts: we need books, time, and silence. Thou shalt not is soon forgotten, but Once upon a time lasts forever.”
― Philip Pullman
‘I know how lucky I am compared to others…’ is a mantra that is rolled off the tongue repeatedly. I hear it so often, as often as tales begin with “Once upon a time…”. However where “Once upon a time” leads to a story, “I know how lucky I am compared to others” is the completion of a story that hasn’t even been uttered. Now don’t get me wrong, of course we are lucky compared to others and during this difficult time, we need to count our good fortunes and appreciate what we do have. Gratitude is important. Good fortune can keep us healthy and secure. There are plenty of tales of characters losing everything through a lack of appreciation – like this one.
“I know how lucky I am” has become a sneaky silencer of our conflicts and our stories. But it doesn’t need to be. Your stories matter. Hearing the stories of our friends, colleagues and family (the good, the bad and the ugly) will combat the other dominant force in our lives currently – Loneliness. By denying the stories that you need to tell, you are denying your humanity. Many of us would be horrified to find out that we had been silencing the voice of others, and yet we think nothing of silencing ourselves.
I am currently, furiously, painfully trying to tell the story of my great grandparents. They died in the Spanish Flu pandemic of 1918. This has involved a lot of connecting dots through research using ancestry websites and it has been a background project for about 8 months. I have discovered so many wonderful things about them, things that none of us knew. But I have to guess at what they think and feel.
I would have loved to have found letters and diary entries that they had written, I would have loved to have stories told down through time, so much so that the way the stories were told is a story in themselves. But I do not. For many reasons this is not available.
So I want you to imagine, that 100 years from now, your great grandchild is trying to understand how you felt about the time you live in. What would you want them to know? And if you’re not sure where to begin, what questions would you ask your ancestors who lived 100 years ago?
You could write these questions down and you could answer for your time. You could or you could not. Or you could tell your story to the audience that you currently have, the audience who are invested in you now. Your friends, your colleagues, your family.
So instead of using “I know how lucky I am compared with others”, try “Today, I felt…” because we want to, need to hear your stories, even if your voice shakes.