I don't know if Art in A. has ever been 'cutting edge', but it has always seemed special. Are we in danger of losing that? It's all very well to faithfully carry on the work of the past, but the real task of youth is to renew, refresh and sharpen. That means a clean slate on which to re-imagine the event. We've got to 30 years, and if we're to last the next 30 we need a new, inspiring plan. We need to consider 'AinA 2036'.
There's no lack of talent or intelligence to do this, but there is a question mark about the will. Are we prepared to think boldly, to set a new agenda for the future? Are we prepared to do things differently?
There are a lot of suggestions I could make as to what we could do, but the real need is for someone in authority to ask the question - what do you think? - of all of the new generation of staff, and be prepared to take the answer seriously.
The same could be said of the School as a whole, of course. Maybe the title of this blog could be "A School for Today and Tomorrow". Hmm ... I think I'll live with that for a few days.
What do you think?
Sunday, October 01, 2006
Today and Tomorrow
Subscribe to:
Post Comments (Atom)
14 comments:
What is 'special' about AIA is what is unmanifest, the consciousness, the presence that underlies what is on the surface. This is what made it special in the past, what made is special this time and what will make it special in the future (provided we don't lose contact with the fact that this is what is essential). To be caught up with the idea of change and 'progress' is, in my view, false. The future wont arise from 'a plan', it will arise from originality in its true sense, i.e, each artist 'returning to the origin' and expressing the truth from that. This cannot be planned. Change for the sake of change will get us more caught up on the rim of the wheel and lose connection with the centre. I suggest we need to concentrate on staying at the centre and what's on the rim will arise as it will and retain its originality.
I disagree with that.
To give one example, there is very little for people with children at the event, other than practical classes which are a faff to sign up for and also stuck in a far corner. There are numerous examples of wonderful child-oriented art about these days - eg the water-sculptures on the South Bank. If you go to a museum these days you get an illustrated map with a 'treasure trail' for kids, leading them around the exhibits and helping them to understand and enjoy them. It's such a good idea.
If you don't have children you might meditate on the unmanifest for quite a long time before such a thing occurs to you. So we need to ask people with children, people in wheelchairs, people who don't normally attend shows - "what do you think of this?" We need to look at how others are doing similar things.
We are in the play, and we have to follow the rules and recognise that it naturally runs down. Let's not confuse doing nothing with staying in touch with the consciousness.
Actually, I know a couple who came with a small child and described the day as "calming, spiritual and uplifting".
I also didn't say, "do nothing". I said, "let what manifests arise from the origin". I daresay even matters of organisation can and should come from this.
On reflection I think the real issue is this:
The notion of something like a 'treasure trail' seems to begin with the premise that children are restless and need entertaining.
The alternative is to provide an atmosphere of culture and spiritual elevation that deliberately goes agains the grain of this. I've observed children watching artists working, captivated. It would be interesting to ask parents whether their children are more or less restless at AinA. Not that the result of this would necessarily be 'scientific' as there are no doubt other variables, like has the child been fed nothing but E-numbers and Playstation for the last 10 years.
I confess I'm not an expert in this area so others might shoot me down from experience. But surely the key question is: AinA provides a rare if not unique opportunity for parents and children to remember what is real. Is this not more important than anything else? This is the 'cutting edge', not novel ideas which are just there to provide distraction.
Are we afraid that those connecting with reality for a moment or two will all become sannyasins? I think that's a pretty irrational fear.
Kapila, I have to say that you do sound very patronising in your latest post. From what imply these people coming to AinA with their children will only experience reality when they're there! This is just not true. How do you know what goes on in their lives? What is reality? Anyone meeting an SES member at AinA with that kind of attitude would be put off by their smug, self-satisfied, superiority complex!
None of the views expressed here are mutually incompatible. AinA is not just any arts and crafts festival with bouncy castle and face-painting to amuse the children. If it is to show the finest arts, give the best service, and encourage happiness then it has to start at the centre and Kapila can't be mistaken there.
But we do need to put our thinking caps on. I wonder why the organisers/leaders of the School don't ask those who take part in AinA what they would like to see there? Is it because, if their suggestions were not taken up, they would be disappointed? It happens of course.
I like the idea of a treasure trail - children being given a question sheet when they come in (lots of different ones to avoid cheating) and they fill it in as they go round. A correct sheet earns its owner a tube of smarties! Waeeee!
This is not a fidgety exercise to placate the childish beast. It just acknowledges the active - very active - nature of a child.
Practical classes might be a bit of a faff, but they're so worth it. There's nothing - but nothing - that better gives an insight into pottery, say, or drawing. And they're so enjoyable. They make the transition between being an observer and a participator. I'd like to see more of them so there are fewer queues.
Some of the marquees could do with rejuvenating and making more decorative, being part of the design in themselves. You want to feel 'wow' from time to time. Does jewellery always have to be precious stones displayed in cases? Could the craft market offer more fashion items as well as knits? Why is furniture always wood?
We probably need to study magazines more such as World of Interiors. What do people really, really want in their homes or on their persons? If it's made by an individual then it's a candidate for inclusion.
If, having trawled around, we come back dissatisfied with what we've seen, then we'll have done our researches at any rate. This happens anyway; right from the beginning of AinA the aim was to include new demonstrators every year.
The AinA concept is good and it just needs to open its umbrella a bit wider. Does it need a root-and-branch rethink? I don't feel it does but all bright ideas welcome
I wasn't objecting to practical classes, or criticising the event. All I was saying was that after 30 years, and with numbers dropping year on year, it might be time to consider whether the formula merely suits us, or if it also suits the needs of the guests and artists. One observation last year was that the punters (as well as staff and artists) are all old people.
My own children have been each year, but when I asked them about it the other night their response was just so-so. My daughter seems to think that it's got a bit too strict with regard to children.
If you think about it Kapila, almost everything there is directed towards adults and what they enjoy. I don't know if you've been to a good museum or gallery recently, but they have really worked out how to engage the children and get them over the feeling that this is all adult stuff. We've been a bit left behind in that regard.
Here's another suggestion to add to Laura's: we should make AinA ecologically friendly throughout. Not because we're following the trend, but because ecology is a spiritual matter, and we should lead by example.
I should just make clear that, like Laura, I don't favour root and branch reform. Nor is it change for the sake of change, as Kapila seems to fear. But I would say that if we had decided to "stay at the centre" and not bothered about the rim in the 1970s, the event would never have come about.
There is no contradiction between the planning and evolution of an event such as this, and its spiritual aims. Nor should we imagine that just because someone else has thought of something it's necessarily wrong.
Laura said:
"None of the views expressed here are mutually incompatible."
I agree. I'm sure various changes can occur on the 'surface' as long as the centre is kept to. This was the point about originality, that any 'change' comes from the centre. But there would also seem to be 'change' that does not arise from the centre? Necessary to discriminate?
In response to 'anonymous' (Post 4), I didn't say AinA was the ONLY place where people can experience reality, merely that IMV this is the true purpose of the event to provide this opportunity or reminder to people. I welcome this myself as I am as much in need of satsanga as anyone else. I have heard a few people in the school imply it is the only source of truth (less so recently). I have never been one of them.
V said:
"we should make AinA ecologically friendly throughout"
Fully agree with this and I would extend it to the school as a whole. Particularly for the children, to demonstrate that someone cares about the future of the world that they're going to have to live in.
A few years ago a friend of mine came to Art in Action and when we met she was raving about how great it was. Why? Because it was really hot, and there were dog-bowls all over the site.
To each their taste, you may say, but it's not that dog-bowls are the most important thing to take care of, but that it's a small but exceptional detail that makes everything else meaningful. Environmentalism is this kind of thing - it's not a main concern of the event, but it is an area where people will take their lead from what we do.
I'd love to see an environmental/recycling slant to AinA. It's really 'hot' and can be very creative. To take a small example from this year. In the Abraham tent someone was making handbags from crushed plastic bags - they were wonderful to look at.
Yours, Collector of String
Anyone who's seen schoolchildren rushing around a gallery or museum with a list to tick off can see that the last thing they're doing is standing and 'just looking'.
The Zimbabwe sculptures did this better one year, with a prize for an essay on the one they reacted to most. A similar essay prize would catch their interest and make them look at skill and maybe ask questions-- the original idea of AinA anyway.
If I meet an exceptional artist or craftsperson, or have some idea for something new, I pass the name on to AinA (in good time for an invitation...). Isn't that what people (should) do ?
Yes, I've done this and no doubt we have all contributed in this way. That's what's helped to keep it alive. Correct me if I'm wrong but I think V's introductory post was about striking into new territory and for that to succeed the organisers will need to be active in welcoming fresh ideas.
Post a Comment