Appendix 2b_FutureCreativesReport ACWInvestmentReview
THIS PROJECT WAS DESIGNED AND DELIVERED BY JUKEBOX COLLECTIVE THROUGH FUNDING FROM THE ARTS COUNCIL OF WALES ‘CONNECT & FLOURISH’ GRANT.
Jukebox invited a selection of Welsh changemakers and London agency Futurimpose to host the explore sessions and consult on the framework of the research.
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CONSULTING PARTNER: FUTURIMPOSE GLOBAL
An award winning agency, a cult label, a provocative creative platform and an alternative learning experience. Futurimpose acted as a critical friend and consulting partner on this project.
JUKEBOX COLLECTIVE
Jukebox Collective are a community- rooted, youth-led collective nurturing tomorrow's creative voices. We do this through our multidisciplinary classes, academy and creative agency specialising in artist management, casting, curation & consultancy.
Liara Barussi Artistic Director
Lauren Patterson Strategic Director
EXTERNAL EVALUATION: SARAH YOUNAN
Dr Sarah Younan works part time at National Museum Wales, and works as a creative and cultural consultant with Watch Africa Cymru.
Temeka Davies Project Manager
A
Ibby Tarafdar is a Graphic Designer specialising in building brand identities. He is based in Cardiff but travels and works internationally with clients including Rocnation, Puma, and Mayweather.
Karimah is a multidisciplinary artist from London with roots in Wales, Yemen and Bangladesh. Her work revolves around community-driven storytelling, locations and cultural diversity.
Liana Stewart is a Producer and Director from Cardiff with over 10 years experience producing factual, current affairs and documentary content for television.
Bethan is an actress from Cardiff with roots in The Caribbean. Bethan trained in The Royal College of Welsh Music and Drama and has since gone on to be in numerous theatre shows and films.
Fadhili is the director of Sub-Sahara Advisory Panel (SSAP) and is also the founder and director of Watch-Africa: Wales’ African Film Festival.
Yusuf is a creative from Cardiff with Somali heritage. His most recent community driven photography project ‘My City, My Shirt and ‘My Cymru, My Shirt’ showcases the diversity of Cardiff City fans.
It took a global pandemic and global demonstrations for equality in the arts to become a true priority in Wales. Jukebox welcomes this shift in the hope that it is more than a temporary trend for racial equality.
For this report, Jukebox asked over 50 Welsh people from diverse backgrounds about how Wales could better embrace them, their creativity and ambitions. This report outlines the challenges in accessing spaces, events and opportunities people shared, it explores how Welsh creatives are challenging the status quo and shares their hopes and ambitions for the future. Where possible, real life conversations were chosen over online forums in the consultations held for this report. Small groups came
together in safe spaces centering their lived experiences, empathy and relationships. For many participants, being in a creative Black space in Wales was a healing experience. Wales’ Black community is finding each other, reaching out and claiming space. Knee-jerk and top-down reactions to fighting racial prejudice and exclusion cannot ‘fix things’. The community understands best the challenges faced, and their potential as changemakers and innovators.
Following an unprecedented year of change and destabilisation, this report captures an awakening. Grounded and galvanized by the Black Lives Matter protests, diverse communities underwent a process of reflection during the pandemic. They are in no rush to settle into a new normal, but demand ongoing processes of change, reflection and learning. This report seeks to raise awareness and propose solutions that are community-led, intentional and lead to real long-term shifts.
THROUGH THIS REPORT, JUKEBOX IS PROUD TO SHARE PARTICIPANTS’ THOUGHTS, CHALLENGES, INSIGHTS AND IDEAS FOR THE FUTURE.
To date, consultations and research in the cultural field in Wales has focused disproportionally on the institutional and top-down framing of knowledge. ‘Tell us your problems so we can fix things’ has been the modus operandi, often overlooking the extractive and tokenistic aspect of diverse communities being asked to share their experience so it can be analysed and actioned by organisations and institutions.
BARRIERS TO THE FREE SHARING OF LIVED EXPERIENCE AND KNOWLEDGE INCLUDE:
Traditional consultation settings are not unconducive to the free flow of knowledge and information. Creative, conversational and community-led strategies of research and engagement are needed to gain insight into the personal and subjective experience of diverse individuals (such as lived experiences, opinions and ambitions). This chapter presents the methodology chosen to investigate this field of study. This report collates quantitative and qualitative data, giving insight into participants’ lived experiences, the barriers they face and ambitions they hold. Jukebox want to thank all of our collaborators and contributors for their generosity, openness and trust in sharing their experiences and vision for this work.
- SETTINGS WHERE EXPLANATION OR JUSTIFICATION FOR LIVED EXPERIENCE ARE DEMANDED BY A DOMINANT GROUP THAT LACKS RELEVANT INSIGHT - SETTINGS WHERE DIVERSE INDIVIDUALS REMAIN IN A MINORITY POSITION - BEING ASKED TO SPEAK TO INSTITUTIONS AND ORGANISATIONS WITHOUT EXISTING RELATIONSHIPS OF TRUST - BEING REQUIRED TO ENGAGE WITH FORMAL PROCESSES AND ENVIRONMENTS THAT ARE UNFAMILIAR OR INTIMIDATING
- UNEQUAL BALANCE OF POWER AND INFLUENCE
April 2021 an artist call out was shared on social media, via Jukebox Collective newsletter, Instagram and Twitter, inviting diverse Welsh artists to apply to share their vision of a truly diverse Wales, and take part in explore sessions. A bursary of £150 was offered to participants, to recognise the emotional labour involved in this work and value participants’ time commitment and knowledge shared. Applications were accepted in written format, or as video and audio recorded messages. (see call out in Appendix)
50 artists from across Wales applied to be part of the project and 37 were selected to participate with an eye to gathering a broad focus group, with a diverse balance of artforms, experience levels, socio-economic background, gender, sexuality, disability, ethnic background and geographic distribution of individuals.
In addition to the public call-out, Jukebox worked with community consultants to recruit and engage community focus groups, reaching out to diverse people with an interest in the arts and cultural sector. Consultants drew in diverse focus groups by tapping into existing relationships and grassroots connections, reaching diverse communities beyond Jukebox’ networks. Community participants were offered a one-off fee of £30 to be involved in 1 one hour session, to recognise the emotional labour involved in this work and value participants’ time commitment and knowledge.
Welsh-African Diaspora from across Wales, hosted by Fadhili Maghiya this focus group took place on Zoom. Participants were recruited via Watch Africa Cymru and BYP network. This group included professionals with expertise in community development, education, technology, public leadership, youth engagement, international relations, politics, and advocacy work. Creative interests and talent in the group included storytelling, writing, music and event promotion and art dealership. Participants in this group have links to diverse African countries and cultures.
Young Girls from Butetown’s Somali Community, hosted by Bethan Mary-James. Participants were recruited via HAYAT trust’s ‘Young Queens’ and youth group, targeting girls and their mothers. This group targeted younger participants and their families, mostly from Cardiff’s Butetown area and part of the Welsh-Somali community. The young girls and women in this group enjoy participating in creative activities ranging from theatre to writing, poetry and dance. They and their families negotiate cultural and economic restrictions around access too and participation in the arts.
People in Cardiff with a migration background. This session was hosted by Yusuf Ismail and included a mix of local people from Riverside and Ely who moved to Cardiff from other countries, from Portugal to Iran. The session brought together diverse Cardiff residents with a personal or family history of migration, including refugee and asylum seeker experience and individuals and families who moved to Wales for socio-economic reasons. The group included a diverse range of cultures and socio-economic backgrounds.
EACH EXPLORE SESSION CONSISTED OF 5 - 8 PARTICIPANTS, IN LINE WITH COVID-19 RESTRICTIONS.
During explore sessions, participants were introduced to the session themes through case study examples (see presentations in appendix). Guided by session hosts, participants took part in guided group discussions, pen on paper prototyping, breakout group discussion and collective feedback. Hosts used open questions to encourage feedback and conversations among the groups, allowed time for open conversation and steered discussions towards key themes and questions.
1. SPACES 2. EVENTS 3. ARTIST DEVELOPMENT
- WHAT ARE THE ISSUES AND BARRIERS ETHNICALLY DIVERSE WELSH CREATIVES FACE? - HOW DO WE ENGAGE UNDER-REPRESENTED COMMUNITIES IN ARTISTIC/CULTURAL SPACES? - WHAT ARE OUR CULTURAL AMBITIONS AND THE SOLUTIONS & ACTIONS FOR CHANGE THAT ENSURE THE ARTS IN WALES ARE TRULY BY AND FOR EVERYONE?
To create spaces where participants felt at ease and understood, we worked with facilitators and consultants with industry experience and knowledge of Wales and the cultural sector, who were representative and relatable to participants. Sessions were recorded through short-hand transcription and lasted an average length of 120 minutes. Where possible, sessions were held in person. Following sessions, the space remained open for participants to network and socialise. Due to geographical distribution of participants across Wales, the Group 3, Welsh African Diaspora community session was held on Zoom.
QUALITATIVE DATA:
All participants (community groups and artists), hosts and consultantts were asked to fill out equalities monitoring forms (see Appendix). Overall, 85% of participants identified as Black, 10% gave their identity as a host of other diverse ethnic backgrounds, and 5% of participants identified as White from lower socio-economic backgrounds Hosts and consultants who helped to deliver this project gave their identity as 70% Black and 30% of other ethnically diverse backgrounds. A questionnaire was shared with artists (see questionnaire in Appendix) to gather quantitative data on their artistic practice, interests and opinions. Their responses were collated and are shared as word-clouds, graphics and diagrams throughout this report.
Artists and community data jointly fed into this report, as it became apparent during sessions that communities and artists are not clearly defined or distinct categories. All participants want to engage in the arts both as active creators and consumers of culture. In order to avoid artificial distinctions, qualitative input from all participants was collated and analysed by theme rather than by participant group.
Qualitative data was gained from artist and community
consultations held in May 2021. 37 artists participated in 3 sets of 3 thematic Explore Sessions covering Events, Spaces & Artist Development. 14 explore sessions were held in total. 3 community group sessions were held with 20 people from diverse backgrounds with an interest in the arts, these one-off sessions touched more broadly on the same themes. quotes and feedback inform the body of this report, and are shared as quotes and through visual illustrations throughout the text. The report was shared with participants before publication, and amended in response to their feedback. Data was gathered through short-hand transcription and
BENGALI
BLACK AFRICAN
t
TRINIDADIAN
BLACK
BANGLADESHI
GREEK
70% 30%
BLACK BRITISH
BRITISH MIDDLE EASTERN
CARRIBEAN
WELSH
MIXED
JAMAICAN
WHITE
DOMINICAN
ETHNICITY
BRITISH NIGERIAN
BRITISH ASIAN
Too often, we’ve been invited to ‘sit at the table’ and ‘have our voices heard’ - but what is the truth we speak when we’re talking with each other, and the table is ours? We hear a lot about creatives and audiences from our community, how we are hard to reach, how we face barriers, how we should be engaged. But better insights and a closer mutual understanding comes with familiarity. Before we are to be ‘engaged’ and ‘reached’, we first want to be seen and understood as individuals, as people with diverse backgrounds and life experiences.
There’s a lot of umbrella terms used to describe our community; ‘BAME’, ‘Black Asian Minority Ethnic’, ‘Urban’, ‘Diverse’, ‘Ethnic Minority’, the list continues. What these terms don’t tell you is the different cultures and identities we have. Some of us go by Somali-Welsh, others are British-Asian. We’re third generation Cardiff Cypriots, we’re Bajan, we’re Nigerian, we’re mixed, we’re Black. And we come with our own cultural differences. Umbrella terms don’t capture the richness of our community, of our diverse cultures and the richness of our roots. But there is something we all have in common. We’ve all experienced racism and discrimination. Terms like ‘Communities who experience racism’ or ‘Minoritised Communities’ drive that point home - we’re not monolithic, and we’re not born as minorities - we’re made to feel minoritised through the prejudices we encounter. It is the same racism and prejudices, cultural and institutional, which single us out that leads to our under-representation in the cultural sector and creative arts. This report brings us together as a community, but we speak with our individual voices against the minoritization and racism we experience.
“IT’S NOT EASY, BUT I CAN’T SEE MYSELF DOING ANYTHING ELSE”
Many of us have faced unconventional career journeys and pathways into the creative sector, and we haven’t arrived yet - we’re still trying to make it. We’re flexible in what we do, the time of artists doing just one thing is over. We run workshops and sessions, record music and promote events, produce and sell fashion, run social media and online shops, paint and print postcards, upcycle clothes and perform on stage, while at the same time holding down everyday jobs just to make ends meet. We have a wealth of cultures, talent and experiences to draw on. We're hustlers and innovators, polymaths with a range of skill sets, multidisciplinary creatives trying to make it happen.
Often, we’re the first in our communities and families to take the leap into a creative career. Traditionally we’re pushed towards ‘real’ careers, like law, or a career in medicine or finance. Some of us face cultural and religious restrictions that are poorly understood and not respected in the creative sector. We face a lot of challenges and lack support not just in the sector, but also at home, among our peers and our communities. When there’s barriers at home and at work, it takes twice the courage and dedication to commit ourselves to our creative passion . “AS LONG AS IT’S CREATIVE-RELATED, MUSIC-RELATED I’D BE HAPPY, JOBS IN THE INDUSTRY AREN’T AVAILABLE BUT BEING JUST A PERFORMER DOESN’T PAY THE BILLS. ”; “I’M STILL DOING STUFF I DON’T WANT TO DO FOR MONEY. I’M ON TV, BUT I’M BROKE.”;
“GROWING UP IN CARDIFF, MY FAMILY WANTED ME TO PICK A SAFE CAREER.”; “WE GET NO SUPPORT FOR NON-TRADITIONAL CAREERS, IN OUR ENVIRONMENT THERE’S LITTLE UNDERSTANDING OF CREATIVE CHOICES.”; “FAITH BASED RESTRICTIONS EXIST IN MY COMMUNITY. IDEALLY I WANT TO BE IN CONTROL OF MY CAREER WITHIN MY OWN BELIEF SYSTEM.”
In our creative careers, we want agency. It’s something that’s important to all artists; to have control of your own narrative. But too often we’re poorly understood, and people expect us to work within a certain context. How often do white artists get asked to make work which speaks about their whiteness, or speak on behalf of white people? We are asked to reflect our ethnicity, and to opportunities available to us. Sometimes all we are is a tickbox, a target that has to be met. And even when there’s good intentions we are rarely understood, frequently drowned out by other voices that dominate the room. It is tiresome to be in the minority, to have to explain your perception and be questioned on your experience. We want to put on the show, not be put on show. “If we’re bouncing together we’re good, otherwise by yourself you’re just on show in a dominantly white space.”; “We need access without a hidden agenda, someone from within the community so people are in it together.”; “It’s good to be in this space with my people and discuss ideas and visions. I’m tired of being invited by white organisations, they want to keep hearing about pain and problems. IT’S TRAUMA PORN.” speak for people of our ethnic background, on a regular basis. Sometimes those are the only
“THERE IS A MASSIVE SHIFT WHICH IS AMAZING, BUT IT’S TAKEN THEM 50 YEARS TO WAKE UP.”; “THEY’RE GETTING FUNDING TO DIVERSIFY, WHY AREN’T WE GETTING FUNDING TO SET UP OUR OWN SPACES?”; “WE SUPPORT THE SHIFT. BUT IT’S ALSO ABOUT OUR AGENCY, OWNERSHIP, GOING BEYOND INSTITUTIONS.”; “DON’T LET OTHER PEOPLE USE YOUR CULTURE - WE SHARE OUR POTENTIAL VERY CHEAPLY; MUSIC OF BLACK ORIGIN, DANCE, CREATIVITY - AND YET THE BIG ORGANISATIONS HAVE NO BLACK STAFF AT SENIOR LEVEL.”; “JUNIOR LEVEL OR TIME-LIMITED POSITIONS WON’T DO. HIRING BLACK TO POST IMAGES ONLINE IS NOT THE SAME AS HANDING OVER CONTROL - CHECK OUT THE CONTRACTS, IT’S ALWAYS TEMPORARY.”
Black Art is inherently political. We are aware of the political and social dimension of our work and ourselves. We are politically and socially aware, and understand our role as agents for change in our communities and beyond. We see this as our burden, but also our potential. It is our ambition to re-imagine a truly equal Wales. This is not work that can be done just at the high tables of organisations and institutions that have
historically left us feeling marginalised and excluded. Yes, we want to collaborate, speak truth to power and help make change happen across the Welsh cultural scene. But we also want to create our own tables. There is a dependency in being continuously forced to work within white institutions and processes, and freedom in holding our own space.
This opportunity for us to get together and talk, it feels important. There’s people here who have never met before, people who have felt isolated as black and diverse creatives. We are used to being the odd ones out. We’ve learned to be careful in white-dominant spaces, to choose our words, to code-switch and hide parts of ourselves. The conversations we can have in a space of our own don’t arise from evaluations and consultations. It’s hard to share when most people in the room don’t relate, when they talk differently or question your experience. It has been a highlight of this project for us to meet other creatives and be surrounded by artists of colour. Minorities are made - and it heals us to be in a space where we are the norm, not the outsider. “WHEN YOU’RE THE ONLY PERSON IN THAT ROOM IT’S REALLY HARD. THEY LISTEN TO WHAT YOU SAY THEN THEY SAY ‘THAT’S NICE DEAR’ AND MOVE ON WITH THEIR OWN IDEAS.”; “WE DON’T NEED TO GET INTO THEIR ROOMS, THEY NEED TO COME INTO OUR ROOMS.”; “THEY NEED TO STEP OUTSIDE THEIR SPACES AND WAYS OF THINKING.”; “I CAME TO THIS INTERVIEW AND THEY ASKED ‘WHAT ARE YOUR PROBLEMS’ AND I FELT REALLY MISUNDERSTOOD - PEOPLE ON THAT PANEL WERE OBVIOUSLY FROM THE ESTABLISHED ARTS COMMUNITY AND THEY REALLY DIDN’T KNOW HOW TO CONNECT. I WASN’T THERE TO BE ‘FIXED’ THROUGH THEIR WHITE, OLDER, MIDDLE CLASS PERSPECTIVE.”; “IT’S LIKE PEOPLE WANT US TO TAKE ALL THEIR ANSWERS AND BE LIKE THEM BUT BLACK…”
PICTURES
To see people come out of lockdown and protest that Black Lives Matter affirmed our experiences of racism and exclusion. It felt like people cared, like massive shifts could finally happen. We’ve never been in a stronger position, but still we have to be cautious in spaces where our experience is not the norm. It is hard to speak on our Blackness without backlash. Institutions are starting to see it too now, those who are doing anti-racist work are getting a taste of racist trolling and right-wing fallout. We are proud of Wales’ efforts, a shift is happening. It cannot be about top-down priorities though, it is important that we promote Black ownership, for and by Black people, it feels different than going to a place where you are trying to fit in. “THEY WON’T UNDERSTAND HOW WE DO. BLACK OWNERSHIP WORKS MORE, YOU CAN DO THINGS THAT YOU WOULDN’T EVEN BE ABLE TO IMAGINE WHEN WORKING FOR A WHITE PERSON.”; “WE NEED PEOPLE AT THE TOP WHO ARE FROM THE COMMUNITY, LIKE US, SO THEY REALLY CARE, SO IT WON’T JUST END IT 5 YEARS.”; “IT’S IMPORTANT TO HAVE REPRESENTATION, WHEN THE NARRATIVE CHANGES, WHEN THE ‘TREND’ WEARS OFF - IT’S NOT JUST A TREND FOR US.”;“YOU WANT TO SAY YES TO WORK BECAUSE YOU WANT THE WORK, BUT YOU NEED TO KNOW YOUR FOUNDATIONS AND WHAT YOU ARE ABOUT. WE NEED A GROUNDED SPACE SO WE DON’T FORGET WHAT WE ARE ABOUT.”
WHO ARE THE DIVERSE WELSH CREATIVES & VOICES SHAPING THE FUTURE OF WELSH CULTURE?
A
WHAT’S INSPIRING YOU RIGHT NOW ?
E
E
I
WHICH CREATIVE MEDIUMS DO YOU PRACTICE?
-14 (51.9%)
FASHION
DESIGN
-10 (37%)
-13 (48.1%)
MUSIC
-9 (33.3%)
ACTING
-8 (29.6%)
DANCE
VISUAL ARTS
-12 (44.4%)
-2 (7.4%)
WRITING
WRITING /DIRECTING
-1 (3.7%)
WRITING /POETRY
-1 (3.7%)
CREATIVE WRITING CREATIVE WRITING /POETRY
-1 (3.7%)
-1 (3.7%)
STYLIST
Asma Elmi is a creative director, stylist and editor-in-chief of the magazine Al Naaem based in Cardiff. Asma studied Fashion Promotion at University and since then went on to create two issues of Al Naaem to showcase her talents as well exploring the diverse culture within the Black and Muslim community. “I CREATED A MAGAZINE CALLED AL NAAEM - IT’S AN EDITORIAL MAGAZINE EXPLORING CREATIVITY, DIVERSITY AND CULTURE WITH A PRIMARY FOCUS ON CARDIFF’S YOUNG BLACK COMMUNITY. BY FEATURING YOUNG CREATIVES ALONGSIDE MY OWN WORK, CREATING EDITORIAL CONTENT IN COMMUNITY VENUES SUCH AS BUTETOWN AND BUILDING AN OFFLINE AND ONLINE FOLLOWING FOR AL NAAEM I WAS ABLE TO RAISE OUR PROFILE AND VISIBILITY. I DID THIS INDEPENDENTLY AND IT WAS SELF-FUNDED.”
“THE STAKES ARE HIGH AND CONTINUING TO FOCUS MY ENERGY ON THE ARTS IS A MASSIVE RISK, ONE THAT IS NOT ALWAYS SEEN AS VIABLE IN MY COMMUNITY AS A BLACK MUSLIM. HOWEVER, AS MUCH AS I AM ANXIOUS ABOUT THE FUTURE I SEE OPPORTUNITIES TO CREATE CHANGE, TO CREATE NEW AND UNSEEN CONTENT, TO BRING SOMETHING TO THE ARTS IN WALES THAT HAS NOT PREVIOUSLY EXISTED.”
ACTOR & POET
Gabin Kongolo’s work consists of acting, poetry and filmmaking. Gabin has appeared on screen on BBC Doctors, Bulletproof (Sky One) and Against All Odds (Motown). Gabin’s poetry has been featured on the BBC and has amassed over 100,000 views. He recently worked with National Museum of Wales/Artes Mundi and SSAP to curate poetry visuals with poems that he has written.
WE NEED TO BE MORE OF A COMMU- NITY, SUPPORTING AND UPLIFTING EACH OTHER. WE ALL KNOW CARDIFF HAS THE POTENTIAL BUT, IT’S UP TO US RIGHT NOW TO MAKE THAT CHANGE AND BREAK PATTERNS THAT HAVE BEEN REPEATED.”
TEXTILE DESIGNER
Ophelia Dos Santos is a Welsh textile designer based in Cardiff. Specialising in hand embroidery – she refreshes and repairs preloved clothing. Through Ophelia’s projects, she hopes to inspire environmental and social change by encouraging people to think about how we buy, re-use and throw away fashion. In provoking critical thinking of our shopping habits, community and skill sharing are at the core of her artistic practice.
“MY RELATIONSHIP WITH CARDIFF AND ITS CREATIVE COMMUNITY HAS CHANGED IN THE LAST YEAR. AS A YOUNG CREATIVE I HAD ALWAYS SET MY SIGHTS ON LEAVING THE CITY TO PURSUE MY CAREER, FOR CITIES MORE RENOWNED FOR FASHION SUCH AS LONDON. I HADN’T REALISED THAT CARDIFF HAS SUCH A HUGE CREATIVE COMMUNITY THAT I MIGHT NOT HAVE FOUND IF I WASN’T SO ACTIVE ONLINE. IN RECENT MONTHS, ONLINE COMMUNICATION HAS ALLOWED ME TO COLLABORATE WITH WELSH ARTISTS, GROW AND ENGAGE WITH THE COMMUNITY. LEAVING WALES TO SEEK BETTER OPPORTUNITIES MAY BE UNNECESSARY AS WE ENTER A NEW DIGITAL WORLD. I WOULD LOVE FOR MORE WELSH CREATIVES TO SHARE MY NEW PERSPECTIVE OF WALES, TO CELEBRATE OUR RICH AND VIBRANT CULTURE. THROUGH MY STORY I HOPE TO PROVIDE INSPIRATION FOR THE NEXT GENERATION OF WELSH CREATIVES CONSIDERING A CAREER IN WALES, TO SHOW THAT IT IS POSSIBLE.”
Coco, from Talk to Coco is a mental health activist, poet and creative writer. She uses her social media as a lens of creative writing & poetry, honesty and transparency. They have created a safe space for people to have someone to talk and share their experiences, feelings and thoughts with, and just feel understood & accepted.
Phil aka Traxx is known widely for being the front man and founder of ‘Astroid Boys’. The group merged the genres of grime, hip hop, punk and rock, which led to a cult fan following and a record deal with Sony. Traxx now does solo alternative hip hop and is in a new band called ‘XL Life’. He also does artist development with young artists from Cardiff.
“I WANT ORGANISATIONS TO USE NEW PEOPLE. THEY DO SAY THEY DO THAT, BUT IT’S EITHER ON A REALLY SMALL SCALE OR IT DOESN’T END UP BEING THE THING THEY SAID IT WAS GOING TO BE
Mason aka ‘Mace the Great’ is a Rap and Grime artist from Cardiff. He has been involved in the Cardiff music scene since he was a teen with a presence on music streaming media channels such as SBTV, P110 and JDZ in his earlier career. Now grown up, he’s stepped into his sound comfortably, performing at numerous events across the UK.
Alexandria is an actress who’s most known for Pembrokeshire Murders (2021), In My Skin (2018) and The End of the F***ing World (2017). Alexandria grew up in Newport wanting to go to acting school but never having the opportunity. She began acting in her 30’s when she had already started a family of her own. She’s aspiring to become a Director.
“I LOVE GOOD VIBES! WHETHER I’M PERFORMING OR I’M AT AN EVENT TO SEE A PERFORMANCE, IT’S ALL ABOUT THE ENERGY”
ARTIST
Andrew is a multi-disciplinary artist whose interests are music, fashion, and writing. Andrew has an English Literature degree and a masters in Fashion Entrepreneurship and Innovation. During the 2020 BLM movement, Andrew led BLM Gwent and campaigned heavily in Newport. He recently landed a national role as ‘Agent for Change’ for Arts Council Wales.
ONE OF THE MAJOR ISSUES IN WALES IS ACCESSIBILITY. I’M FROM NEWPORT AND THERE’S ONLY ONE ENGINEER THAT I KNOW WHO OFFERS PROFESSIONAL STUDIO TIME, ENGINEERING AND MASTERING FOR A VERY REASONABLE FEE. NEWPORT IS ONE OF THE MOST URBAN AND LARGEST PLACES IN WALES AND THERE’S ONLY ONE STUDIO. IMAGINE IF I LIVED IN A MORE RURAL AREA? I MAY HAVE NEVER HAD THE OPPORTUNITY TO GO TO STUDIO AND AS A RESULT OF THIS, I MAY HAVE NEVER RECORDED ANY MUSIC.”
We can never forget the events that drove us all out of our homes and back into the streets and public spaces: the global protests in response to the murder of George Floyd. The cry of Black Lives Matter began in digital spaces and platforms until it burst into the streets and resonated across the globe. For Black people and others who have lived experience of racism the BLM protests became about more than political activism; they generated a sense of belonging, of visibility and of community. The visibility and platforming of Black and minoritized voices and experiences is inherently political. Protests can be a platform for us to claim visibility and to share our experiences, to commemorate and call for change. But we also need platforms to celebrate Black and minoritized voices, arts and culture. So what do events mean for us?
“WHEN I WENT TO THE PROTESTS I REALISED - WE ACTUALLY HAVE A LOT OF SOLDIERS, THERE’S SO MANY OF US!”; “PROTESTS IN WALES HAVE CREATED A SENSE OF UNITY”; “DURING THE BLM PROTESTS THIS SENSE OF COMMUNITY EMERGED ORGANICALLY, WHY DID IT TAKE SOMETHING SO NEGATIVE TO BRING PEOPLE TOGETHER AND HOW CAN THAT SENSE OF COMMUNITY FLOURISH?”
“WE NEED TO FEED OURSELVES AS CREATIVES. WE SHOULDN’T HAVE TO GO FAR AWAY TO FIND THAT.”; “GOING TO THINGS IS A STEP TOWARDS MANIFESTING.”; “WE NEED AN EVENT TO CELEBRATE ALL THE TALENT IN WALES”; “MY EXCITEMENT TO GO TO ANY CREATIVE EVENT IS SEEING THE BEAUTIFUL, GROUND-BREAKING WORK OF PEOPLE I ADMIRE AND PEOPLE WHO I AM PROUD TO CALL MY FRIENDS. (...) IT'S A GREAT SPACE TO BRING US ALL TOGETHER.”
Events can make us feel a sense of belonging, connection and community. Being in an event that reflects and celebrates us is an important step towards feeling at home in Wales. Wales is traditionally seen as a tolerant nation – but why should we be tolerated when we can celebrate our creativity and culture together? BLM has highlighted the trauma of our community. Joy can help us heal – celebration and Black Joy is an act of resistance. Amplifying Black Joy is not about dismissing or creating an alternative to Welsh cultural narratives, it is about creating opportunities to bask in the beauty of what it means to be Black and Welsh — both the pain and the celebration. For younger generations, events can provide a blueprint, inspiration and motivation, an introduction to culture and informal education. Like travel, events can enable us to encounter new environments and experiences and broaden horizons.
90%
OF PARTICIPANTS GO TO AN EVENT FOR INSPIRATION, FUN AND TO CONNECT WITH OTHERS.
We used to have Black events and celebrations in Wales, especially in Cardiff and other port cities. Tigerbay Carnival and legendary clubs like Casablanca drew people from beyond Wales to the docks. But Black celebrations have always been seen as dangerous, from carnivals to grime music and drill, our culture is perceived as a risk and stifled, not just in Wales but across the UK. These obstacles are not faced by indie, rock and alt musical artists whose music is programmed and promoted while rappers, RnB, reggae, grime and other Music of Black Origin (MOBO) performers struggle to be platformed and recognised as part of the Welsh music scene.
“THERE WAS NO INTEREST IN PROMOTING MY MUSIC (REGGAE) HERE. I LITERALLY HAD TO TRAVEL TO JAMAICA TO CONNECT WITH AN AUDIENCE.”; “AS AN EVENT PLANNER, PROMOTER AND DJ IN WALES, SPEAKING TO MANAGERS, YOU KNOW YOU’RE NOT GETTING A SPOT. IT FEELS SEGREGATED. WE HAVEN’T BEEN WELCOMED INTO THE COMMERCIAL SCENE, I DON’T KNOW IF IT’S OUR MUSIC OR BECAUSE WE’RE BLACK.”
We also face barriers to participation on the ground; being turned away from venues for the way we dress and look or struggling to find events where we feel welcome. Rave culture, drinking and drugs are part of student culture in Cardiff and other university cities in Wales – this is not what we are looking for. Theatre and gallery spaces come with their own cultural barriers. Elitist attitudes, cold and clinical environments and overwhelmingly white, middle class audiences make us feel unwelcome, or at best regarded as exotic and tokenised and made to feel foreign in spaces in our own cities. There’s also a divide between rural and urban communities in Wales, and between different social classes.
Nonetheless, Cardiff and Wales are known to be welcoming and friendly. There is so much within Welsh culture that we want to celebrate and build on, but there are also obstacles that need to be addressed. Welshness is still perceived as whiteness, and can be narrowly defined. For us, it remains difficult to be welcomed and included in Welsh language culture if we are not already Welsh speakers.
“WE DON’T ATTEND THE EISTEDDFOD, IT’S A BRILLIANT EVENT BUT IT’S SO DIFFICULT TO CONNECT. THEY BROUGHT US IN TO PLAY THE DRUM AND SING A LITTLE BIT AND THEN IT WAS DONE (…) THEY DON’T TALK TO YOU AFTERWARDS.”; “IT’S REALLY A DOWNSIDE TO MOST OF US ARTISTS NOT SPEAKING WELSH (...) I WITHDRAW WHEN I CANNOT SPEAK FOR MYSELF.”; ”THEY SHOULD REALISE THAT WE HAVE WELSH NAMES IN THE COUNTRIES WHERE WE COME FROM, IN THE SECOND LARGEST CITY OF ZIMBABWE WE HAVE THE LLEWELLYN BARRACKS. THEY SHOULD REALISE OUR EXISTING CONNECTIONS, IT’S COLONIALISM BUT WE CAN ALSO CELEBRATE THE INTERCONNECTION THAT ALREADY EXISTS.”
Through events, we’d like to explore what a more inclusive Welsh culture could look like and bring together performers and audiences that represent a new Wales, without divides, Welsh speakers and non-Welsh speakers together.
Events can play an important role in discovering, nurturing & celebrating local talent. A diverse line up that brings together Black and Welsh speaking local talent, and even international artists can nurture talent and collaborations. By reaching out to key artists and performers that have their own followers, we could tap into different scenes and programme the kind of event that brings different audiences together. This should be the aim of programming and promotion of events, taking conscious decisions to engineer something that is really diverse and fresh and tapping into new promotion platforms to get the word out. Many of us look to Jukebox as a connector of Black creatives particularly in art, fashion, music, dance – They play a role in helping to connect and mobilise creatives to make exciting things happen.
So what would an ideal event look like? We want to put Community & Culture first; we're looking for events that understand and celebrate our culture and interests, from language, music and dance to food, fashion, art and sport. Events that are low waste/low impact and promote sustainability, for example clothes swaps and mending workshops; events that have a message and that support the community by platforming our culture and local talent. Events can be multidisciplinary and platform all kinds of creativity and talent from the community. We imagine immersive events, where theatre, dance, music and performance come together to create new experiences, events that ask us to put down our phones and truly experience something new. We want events to be accessible, well-promoted and open to everyone. Inspiring speakers and acts, sourced from local talent but also brought in from overseas can pull together an audience that is as diverse as the line-up.
“ADVERTISING IS DOWN TO BUDGET, IF YOU HAVEN’T GOT BUDGET IT’S JUST YOUR SOCIAL MEDIA AND FRIENDS AND THE TURN UP REMAINS LOW.”; “IT IS DOABLE TO COME TOGETHER AND HAVE A BIG EVENT IT JUST TAKES GOOD PLANNING AND NETWORKING - WE’RE MISSING OUT ON ABILITY AND TIME TO NETWORK PROPERLY.”; “WE HAVE NO MEDIA PRESENCE IN WALES (…) IF THERE IS NO MEDIA COVERAGE OR INTEREST, OR EVEN A WEBSITE.”
WE NEED TO NURTURE YOUNG CREATIVE MINDED PEOPLE AS THEY ARE OUR FUTURE!” - ONYX
“I SEE A LOT OF EVENTS AND ACTIVITIES HERE IN WALES THAT REPRESENT THE SAME VERSION OF WALES ALL THE TIME. I WOULD LIKE TO SEE MORE DIVERSITY AND CULTURE. BECAUSE, THAT’S MY VERSION OF WALES AND I JUST DON’T SEE THAT ANYWHERE. RAW TALENT IS HERE AND THESE COMMUNITIES NEED TO BE SEEN!”; “I LOVE TO LOOK AT THE COLLECTIVE JOY, AND EMOTIONAL RELEASE THAT THE AUDIENCE IS SHARING. DISCOVERING NEW ARTISTS AND FRESH VOICES IS MY FAVOURITE PART OF THIS.”; “WHAT GETS ME EXCITED ABOUT AN EVENT IS FEELING CONNECTED TO MY CULTURE. I ABSOLUTELY LOVE EVENTS THAT EMBRACE ORIGINALITY AND ENABLE OTHERS TO BE PROUD OF WHO THEY ARE AND WHERE THEY ARE FROM.”
I LOVE EVENTS THAT REACH PEOPLE INTERNATIONALLY AND WHERE THERE’S A SOCIAL ASPECT” - TRULI
“I LOOK FORWARD TO NETWORKING WITH THE PEOPLE AND JUST EXCHANGING CONTACTS. WE NEED TO BECOME A VISIBLE AND DYNAMIC PART OF THE CREATIVE SCENE IN WALES.” - ASMA
“WE NEED MORE ANNUAL EVENTS, MORE CREATIVE FREEDOM AND MORE SUPPORT FROM ORGANISATIONS.” - REUEL
We want to go beyond passive consumption and be able to participate in workshops and show-and-tell sessions or open mics where anyone can rock up and showcase their talent. We’re thirsty for more opportunities to learn & network. It would be great to run and attend workshops and events where different creatives can team up and work together, creating a bigger celebration where we are part of the journey from start to finish.
To create events that are special and offer something unique to Wales, we want to build on all the amazing things we have in Wales, and take a fresh look at environments & spaces, like our access to beautiful natural spaces. Events can take over outdoors spaces, warehouses and empty built environments, but we’re also interested in heritage spaces and in exploring the unique cultural heritage of Wales. The figure of the Welsh bard, or ‘beirdd’, resonates with us; oral history, storytelling, poetry and community plays an equally important role for us. We’d like to contribute our twist on history, celebrating what makes Wales unique and our place within that legacy and present.
It’s not just about events. We also need space to work, flourish and connect. There are few working spaces to use, whether that be photography studios, connecting spaces or networking events. It is very rare to see any opportunities for local artists to access space for free in order to work or collaborate. The creative drain is real, with many young creatives from Wales moving to places like London to break through and begin their career in their creative field. There’s a feeling that more opportunities, paid work and space to grow exist outside of Wales. It’s not that we want to move away, but we don’t want to remain stuck working from our bedrooms either. “WE DO WITH WHAT WE HAVE. PEOPLE ARE MAKING THINGS HAPPEN IN THEIR BEDROOM, PEOPLE ARE PUSHING THROUGH AND MAKING EXCITING WORK DESPITE THE BARRIERS - BUT IMAGINE THE SCENE THAT COULD GROW IF WE HAD SPACES FOR IT!”
There are venues, but often our community faces barriers that make us feel out of place. This can be financial barriers, the requirement to pay for drinks to use a space stacks up when you’re looking for somewhere to work every day. Feelings of being unwelcome and out of place are reinforced by lack of representation. Cultural differences are not properly understood or taken into account by available venues. Frequently, where equipment is available, access is restricted and comes with conditions, such as signing up to the interests of venues and existing projects, limited hours of access, fees and ‘fitting in’ rather than being able to access creative resources freely. Institutions aren’t safe spaces for us. White-owned and white-run, often charging too much or not reaching the right people, with top-down control and priorities. Management of these places does not trust diverse artists to do things for themselves, and create access issues.
“A LOT OF VENUES GIVE YOU THAT FEELING OF YOU’RE LUCKY TO BE HERE.”; “EVEN BEING IN THAT SPACE MADE ME THINK ‘COULD I EVEN SIT HERE AND CREATE IF I WANTED TO?’ - I COULDN’T RELAX.”; “I DON'T SEE MYSELF IN THESE SPACES, NOT REPRESENTED VISUALLY OR IN STAFF OR VISITORS - IT MAKES IT HARD TO EXPRESS FULLY.”; “PEOPLE HAVE BEEN BROUGHT IN FOR BITS OF WORK AND PERFORMANCES AT SPACES LIKE WMC BUT IT’S ALWAYS FOR A REASON, YOU SERVE THEIR PURPOSE.”; “THEY WANT US IN THERE FOR THE LOOK OF IT.”
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Black spaces that existed in Cardiff and Wales have been systematically eroded, spaces where communities live and gather are still being taken away. Cardiff used to be a capital of the world where people would come for live music.The coal exchange and docks brought people from all over the world on ships, but Tigerbay was seen as dangerous. Prejudice, systemic racism and city planning which did not, does not, value the contributions of our communities have undermined and eroded historical Black spaces. “I WAS TAKEN TO THE MUSEUM AS A KID (…) I’D LIKE TO SEE MORE DIVERSE EXHIBITIONS AND ARTISTS THERE. THE SPACE IS NICE BUT THE WORK DOESN’T INSPIRE ME.”; “THEY SHOULD DO EVENTS MORE REGULARLY THERE SO WE CAN PUT ON OUR WORK, LIKE THE TATE LATES MONTHLY TAKEOVERS.”
There is a thirst for multicultural and multipurpose spaces in our community, spaces where we are not made to feel like a tolerated minority, but part of a community. Spaces that feel accessible and where our art and culture is platformed. We need somewhere to meet, any time of day, where there are alternatives to alcohol. Spaces where we can work effectively, gather and network, where serendipitous encounters and collaborations can emerge. We need to be reachable in our own city, there has to be spaces where you can go, meet creatives and access the resources to work together and make stuff happen. People have different needs to work more effectively; from quiet and calm spaces to concentrate, to recording studios, dance and rehearsal spaces, photography studios, meeting and networking spaces to accessible studios and exhibition spaces where we can show our work on our own terms.
“I WOULD INTRODUCE A NEW SPACE WHERE MORE CREATIVES CAN COLLABORATE WITH ONE ANOTHER. WHETHER IT IS FOR UPCOMING PROJECTS OR SOMEONE IS IN NEED OF A STYLIST ETC - THIS WILL THEN RESULT IN A CREATIVE CHAIN. A CHAIN IN WHICH PEOPLE ARE AWARE OF PARTICULAR PROJECTS THEY WANT TO BE A PART OF AND A CHAIN IN WHICH PEOPLE CAN SEEK HELP FROM OTHER CREATIVES IN THE CITY.”;“I ACTIVELY SEEK SPACES IN WHICH I AM WORKING WITH OTHER WOMEN OR PEOPLE OF COLOUR, SO IN A WAY, I FEEL I AM PROTECTING MYSELF FROM FACING PARTICULAR SETBACKS OR BARRIERS.” - ASHRAH
Free working space, without restrictive terms and conditions attached is important for us, but even having the opportunity to hire out easily accessible and affordable spaces and equipment would be a big improvement. We’re interested in membership models that involve us in taking responsibility, ownership and responsibility for spaces. A membership model could be complimented with sponsored spaces, and areas that are open to all. It should feel both accessible and aspirational, somewhere that you want to be part of, and that feels within reach.
15 (55.6%)
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“I WANT A BIG HOUSE FOR CREATIVE PEOPLE.”; “IT NEEDS TO BE SET UP IN A WAY THAT WORKS FOR PEOPLE, AND OFFER RESOURCES THROUGH WHICH THEY CAN RUN THEIR VISION – SPACES NEED TO EVOLVE WITH DEMAND FOR WHAT PEOPLE WANT AND NEED.”
For those of us who perpetually find ourselves in the minority in predominantly white spaces and institutions, taking up space is an act of resistance. Taking up space is also about taking control and taking power. There needs to be spaces that are designed, run, governed in a way that suits people, that doesn’t cater to the dominant culture, where we can express ourselves on our own terms. The less dependent a space is on corporate or public funding, the more alternative cultures can flourish. Often, our community is engaged in the transfer of political assets when we access space – our presence is seen as a bonus for big institutions who get to tick a box. But we want to be visible. A space that we can access, use and develop on our own terms would create true visibility. We need space to meet and connect, to go beyond ego-driven leadership and gatekeeping and be able to be creative, away from culture politics. It is rare that we find ourselves in environments where we can simply exist and express ourselves as creatives. “It’s about power dynamics, who runs a space, who truly runs it?”; “For me an intersectional space is where boundary breaking collaborations can grow.”; “It needs to offer things like a prayer room, a sensory space, a downtime room, so people feel understood and welcomed.”;“I want a space for the community to celebrate and be celebrated.”
WE CARE ABOUT SUSTAINABILITY AND WOULD LIKE SPACES TO BE CONNECTED TO NATURE, USING SUSTAINABLE TECHNOLOGIES AND LOCAL DESIGN AND RESOURCES – SOLAR PANELS AND RAINWATER COLLECTION, NATURAL AND RECYCLED MATERIALS, A COMMUNITY GARDEN, EXHIBITIONS OF LOCAL TALENT WOULD HELP US TO CREATE NURTURING AND GROUNDED VIBES AROUND A SPACE, CURATED TO LOCAL EXCELLENCE, LOCAL PEOPLE AND OUR NEEDS. SPACES CAN CREATE A SENSE OF COMMUNITY AND BECOME RELEVANT THROUGH THE PEOPLE YOU FIND THERE, AND THE CONNECTIONS THEY ENABLE YOU TO BUILD. IT IS IMPORTANT WHO RUNS AND HOLDS A SPACE – WE NEED SOMEWHERE WE CAN GO WHERE THE PEOPLE UNDERSTAND, WELCOME AND BEFRIEND US. A SPACE WHERE WE CAN GO FOR HELP, ADVICE AND SUPPORT.
The global Covid 19 pandemic has also pushed us to experiment and explore digital spaces. We’re hungry for real spaces and interactions now, but there is also a lot of good we want to take forward from these experiences. Our ability to connect and build opportunities online has flourished through Covid, and digital platforms have allowed us to share news and information more quickly, to connect with people across the world and find digital communities and spaces.
We also need media coverage and digital platforms as online spaces to share events, news, what's happening and resources. Podcasts and music videos can create digital spaces where the community comes together and feels represented – and the creation of digital content makes people feel part of a creative team in real life. Gaming and TV, as well as digital promotions and content are frequently underrated as creative spaces but this kind of content is here to stay and offers room for creative exploration. Post-Covid creative spaces should accommodate elements of technology, such as a media suite or technology suite and space for content creation. These new avenues of creativity and new mediums deserve to be recognised for their potential to popularise art and reach new audiences.
95%
“THERE SHOULD BE A SPACE WHERE AN ARTIST CAN WALK IN AND CREATE NEW CONTENT. LIKE THEY CAN FIND FILMING, PHOTOGRAPHY EQUIPMENT, A DIGITAL SETUP, RING LIGHTS AND AN EDITING SUITE ALL IN ONE PLACE.”; “YOU CAN HAVE A SPACE WHICH IS PHYSICAL BUT THEN BRING SOMEONE FROM JAPAN INTO THE ROOM.”
PREFER TO CONNECT IN PHYSICAL SPACES
As a community of young creatives we’re versatile, there’s all kinds of jobs and opportunities we’d like to take
physical health and wellbeing, art and science collaborations and other cross-disciplinary projects. We need opportunities to act as facilitators, collaborators and creatives on projects that go beyond issues of race and diversity. Yes, those themes are important to us, but there is a tendency to pigeonhole us and reduce us to these themes. We are interested in more than that, and have capacity to go beyond the limited opportunities and themes available to us.
on. We understand that sometimes just being a
performer doesn’t pay the bills, but jobs in the industry don’t feel available to us. How accessible are jobs and initiatives to involve artists in interdisciplinary projects really? We want to see more diverse artists get opportunities to work in schools, be part of projects that focus on mental and
“I’D LOVE TO TEACH KIDS, BUT WHO APPROVES THAT? THE HEADTEACHER WOULD BE LIKE ‘WHO LET HIM IN’...”; “I USED TO PROMOTE OLLIVER MTUBUTSI, THAT WAS THEN I WORKED WITH THESE BIG MUSICIANS, LIKE MBUNTU BOYS, UP TO 80,000 PEOPLE EVENTS. EVERYTHING WENT THROUGH MY FINGERS, I DON’T BRAG THIS WAS THEN. (...) BUT HERE I STRUGGLED. I REMEMBER TRYING TO PUT UP MUSIC FESTIVALS AND GETTING NOWHERE.”; “I HAVE HAD TO EXPOSE MYSELF ABROAD, THAT’S NOT RIGHT, THERE SHOULD BE A SOLUTION IN CARDIFF AND WALES. I’VE GOT CONTENT, A GALLERY, BUT NO LINKS. ABROAD I’VE FOUND IT EASIER TO DO THAT, THERE’S INTEREST, BUT HERE IN WALES IT’S DIFFERENT.”; “IF PEOPLE CAME TO SAMPLE OUR CULTURE AND VISIT OUR CONTINENT ON THEIR DOORSTEP. THEY WOULD LOVE IT AND ACTUALLY SUPPORT US.”
“THE INTERVIEWS CAN BE TERRIBLE AS WELL, WHEN IT’S ALL JUST ONE KIND OF PERSON ON THE PANEL, AND THEY DON’T TALK PROPERLY WITH YOU.”; “OFTEN THEY ASK IF YOU HAVE ACCESS ISSUES, BUT DON’T REALLY FOLLOW THROUGH.”; “YOU HAVE TO SWITCH UP YOUR TONE TO SUIT FUNDERS.”; “I’D LIKE TO APPLY WITH A PORTFOLIO OR AUDIO OR A VIDEO, THAT WOULD MAKE IT MORE ACCESSIBLE.”; “I WOULD PREFER TO TALK ABOUT IDEAS IN A PRESENTATION STYLE.”; “A LOT OF CREATIVES ARE DYSLEXIC (...) OR DIDN’T DO SO WELL IN SCHOOL.”
Funding applications can be intimidating and take time. For those of us who don’t have an academic background, the writing requirements are off-putting. Sometimes there’s initiatives for emerging and young artists or minority artists, where the application requirements are simpler, but those are always small pots of money. There needs to be funding which is accessible to us, which we can use for the things we really need. Ideally, funding should be open and fair for all, but in our experience who you are and who you know, and if you share a common culture with the funders makes a difference. Cultural barriers are often the hardest to overcome. They include interview panels that don’t understand our journeys or ways of expression, to experience and cultural background which is expected from us. It is important for creatives to build relationships with funders and get our work known, but it feels like we need to speak their language and move in their spaces to make this happen.
We need funding that is broader and more flexible, that we can use to suit our needs, not money to do what organisations want from us. New digital spaces that we’re exploring require new kinds of content, but funding is only available for more traditional disciplines and gatekeepers don’t understand new and emerging creative disciplines.
We’re not always going to be successful in accessing funding and opportunities, but we deserve a chance to learn even when we are turned down. Often, standard responses are sent out that don’t enable us to understand where we could have done better, or how we can improve our approach. We need gatekeepers to understand that their language and requirements can intimidate creatives, and that we invest time and energy in trying to meet their demands. When this is not recognised, many of us may never look at an application form again. Even when we don’t get the funding or the opportunity, we still want to learn from it, to grow. Being turned down doesn’t have to be such a bad experience, but we do need feedback and a proper conversation.
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