Diversifying the Narrative

Diversifying the Narrative

It takes courageous leadership to consistently commit to moving the dial forward in diversifying the narrative and shifting the lens to create a greater sense of belonging in towns, cities and routes into sustaining a successful creative career.

How are we shifting the narrative of art form representation, having discourse on the content and shaking up the places and spaces where marginalised work is valued and presented across the South West?

Graffiti, Street Art such as the work of Carleen De Soza? https://www.carleendesozer.com/streetart (pic 1) jumps out at me from an outdoor event I attended, ‘The Bridge,’ produced by Scanners Inc. in partnership with Brixton X Harlem, highlighting 50 years of hip-hop on a sunny day in London. Scanners Inc. The Bridge’ repurposes and crafts a sense of belonging in outdoor places for the whole family to enjoy. https://scannersinc.com/?doing_wp_cron=1696152035.1549808979034423828125

De Soza's work interpreted deep feelings from the Brixton Riots of the 80s, unemployment and the rich heritage and diversity that is not so visible in today's Brixton of gentrification. My family witnessed the changes in Brixton and Liverpool during and after the 80s, which threads through my referencing and interpretation. It is also the detail in Carleen's work and the feelings that jump out from the spray art portrait and the diverse colours, along with the context of the 80s and a backdrop of the historical Brixton Cultural Archive Centre for the event location.?

I also attended the thought-provoking Creative Futures at Arts University Bournemouth in July; the two experiences presenting courageous leadership got me thinking about under-represented art forms such as graffiti and street art in public and classic spaces, career progression routes and artist/tutor representation within universities across the southwest. Alongside the pressure of stepping into an institution grounded in art forms with acts of activism against the system in their nature, asking questions about who hires, commissions and opens the doors for Sprayart to be more recognised and valued, whether that is the joy and bright graphics of Hip Hop culture or the depth of detail and emotion in the works such as De Soza and others.? Their work highlights a narrative often not included in traditional spaces or central cityscapes in the southwest of the UK. It is usually found in secret locations or isolated areas such as skate parks, low socio-economic towns, and boroughs. Brave joined-up commissioning and valuing diverse art forms and their reach for inclusion usually happens in central cities in Birmingham, Manchester, Southbank, Shoreditch in London and the like.

However, I am pleased to hear in the South West of the recently commissioned @carleendesozer to create a representation of Black Stories Southampton book by Don John for @so.multistories street art event provides an example of an art form connecting with youth culture and under-represented communities in hidden spaces such as car parks including the innovative work other spray artists such as Rick Also & Upside Gallery https://upsidegallery.co.uk/gallery/ in Bournemouth involving the work of Tech Moon’s attention to detail, transforming walls with large scale murals often with a naturistic narrative and love for wildlife; who as a youth started as a spray artist and trained as an illustrator. https://technicolourmoon.com/

Is it common in cities and towns across South West for under-represented art forms and contemporary street art concepts to be seen in central locations??

How can marginalised art forms and communities play a critical factor in the conversation and opportunities through ‘Meanwhile Spaces’ in reigniting city and town places and spaces?

How often is representation in the South West public gallery's contemporary fine art context, or is it the adventure of seeking out hidden streets and locations part of the spray art’s cultural landscape? ‘Our house, Your house’ comes to mind, an analogy I often use in ‘Conversation with a Purpose’ to highlight a better understanding of what shifts in thinking and understanding of art, culture and place. Can such works be found in central outdoor locations, for example, South Bank, where street culture has a place to belong, participate in and be seen? As the focus increases on towns and cities, shop fronts closing, and repurposing spaces & places, a co-created approach to creative participatory regeneration will occur. Is there space for street art to revitalise a town's landscape? Again, Birmingham and East London, Shoreditch comes to mind. Central in visibility, identity and uplift an area.

Women leading in street art are rising, such as WOM Collective lighting up spaces and places as a London contingent of creatives. Although navigating the systemic ideologies of artistic art forms in traditional settings, I have often questioned how welcomed under-represented voices and their art forms are valued and represented by their different approaches to doing.? Historically, the work of artists such as Jean Miquel Basquit is more appreciated and widely respected many years after their passing, although successful when alive. What does it take to understand the codification of an art form not often represented in traditional spaces??

How and where are curators, critics and writers of the street form employed and listened to, and how does Street and Graffiti Art fit within the framework of institutional education and routes into a profession? What is the appetite of institutions to broaden the reach and relevance of a youth-initiated art form and, moving forward, workforce representation and access to opportunities after that? I have more questions than answers! This is more of a provocation to connect existing dialogue.

Hip-hop culture is built on community; it was initially rebuked by society and often masked as anti-social. The legacy of Hip Hop takes care of their ecology to support, offer opportunities, share skills and techniques, and through ‘battles and cyphers, ’ connect with eachother, which you can witness in the success of the likes of ‘Artists for Artists’ and ‘Breakin Convention’ founded by Jonzi D, integral in supporting grassroots dedicated spaces for Hip Hop culture creativity to grow such as Stella Mavris - DFA all elements Hip Hip youth provisions.

A call to action for courageous leaders and decision-makers in taking a pronged approach not just at the doorstep of universities on curriculum content but also integral involvement from the creative and cultural industry as many young creatives entering and leaving formal education institutions desire a sense of belonging and feeling valued when contributing requires mapping out and joining the inroads and equitable opportunities for freelance creatives to access.?

Alongside the consistent commitment to taking action and relevant discourse with a diverse range of experts, formal and informal, side by side with allies in institutions and industry, we will move the dial forward to break down the blockade of appreciation, value and understanding to create a successful, sustainable, diverse workforce contributing a relevant artistic narrative and representation in its broadest sense for all to enjoy and engage.

I am an observer, a catalyst for change. I value discourse + action in increasing marginalised under-represented groups. I am open to being challenged and co-creating successful frameworks for change within the creative industry sector in the South West, drawing from successful models such as Conversations with a Purpose underpinned by Action Learning and an innate curiosity about the visual arts ecology from my previous work across the South of the UK with leading visual arts organisations and funded research in East Africa with visual arts and Hip Hop culture stakeholders.

If this resonates, get in touch.