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'Figures' Production Report

Staring vaguely into the middle distance in a chalet in rural Wales, it’s hard to process that for the last week I’ve been on a tidal schedule; a wind-burnt face and a sleep-deprived sense of befuddlement my only souvenirs of a week on the bank of the Thames helping Liz Crow bring her ‘Figures’ project into being. Was it only a few days ago we stood outside Parliament giving interviews to Finnish news channels and to Occupy? The BBC DID show up, didn’t they?

The human cost of austerity as a theme for a project is one I’m totally behind and the value of humanity in arts production has featured heavily in lessons learned this week. Working under tough conditions, be they battling 60mph winds or a being in a group of strangers thrown into a flat together, is par for the course in production, but the ability for a team to pull together and play nicely is key to success.

3am rarely brings out the best in anyone but we managed, by and large, to bring a little gallows humour to our early starts and heavy loads.

Every court needs it’s jester, and when I realised I was unable to help with a lot of the physical aspects of the performances due to a back injury I took my role as Production Support to be in part serving as a cheerleader for physical, mental and spiritual wellbeing amongst the team. Yup, a bit of mucking about whilst loading a van can go a long way, I feel, as does the timely application of bacon sandwiches, so I hope I was able to contribute a little to the team.

None of this would have worked without excellent planning, and commendation must go to Producer Jess Edge for preparing the most formidable schedule to help us keep on track! I’ve worked with complicated scheduling before as part of the production team of the Unfairground at Glastonbury Festival, and the skills of good resource- and people-management are totally transferrable in all outdoor arts endeavours. If everyone is clear on their roles and know exactly where they need to be at any given time it allows for much better problem solving in the moment.

I tip my hat also to Liz’s PA Jess Keily; her amazing skills and patience really highlighted the importance of skilled and properly funded assistance for disabled artists. Without her we would have struggled to keep the project afloat, and her excellent communication between the team and Liz helped us to adapt to Liz’s energy levels and requirements.

Liz herself has been a joy to work with; even freezing her fingers and toes in the clay and wind for hours at a time she always came back from the shore smiling and kind. Endurance work really is a test of the body and will, and Liz’s commitment to her work has been unshaken throughout. She’s a very impressive woman who’s work I will be following from now on.

Please do have a look at the Figures twitter account for details of the project and the stories behind the sculptures. We live in uncertain times and I will be watching the results of the general election closely for movement in funding to arts and disability.

It’s nice to be back in the real world, and to not have to wear four pairs of trousers to keep warm, but there was something magical about being the only people awake on the riverbank watching a lone figure making many small ones, making a quiet but powerful protest for vulnerable people in society. Let us strive to take care of one another and keep up the pressure on government to be accountable and fair to us all. 

Posted by Alice Holland, 7 April 2015

Last modified by Colin Hambrook, 8 April 2015

Art, Austerity, Activism

Three unfired clay figures representing individual stories of the cost of austerity

In the week dominated by coverage of Martin Sheen’s speech on the danger of middle-of-the-road politics whilst the NHS is eroded I found myself sporadically weeping into the pelt of a Golden Retriever called Archie and plotting to blow up Parliament. Welcome to arts administration.

In preparation for Liz Crow’s new sculpture performance ‘Figures’, I had the grisly-yet-illuminating task of copy-editing 650 stories of the human cost of austerity, each one to be represented by a clay figure made by Liz. At the office of CoQuo, the digital agency supporting Figures, I plugged in, caffeinated, and nearly dislocated my jaw from the number of times it dropped in disbelief.

 As a borderline anarchist, the depths to which the authorities will stoop to do over the public in the name of budget cuts didn’t come as a total surprise to me, but my ignorance as to the situations of some people claiming Disability Living Allowance or Personal Independence Payments was a bit of a shock.

I knew when starting this training that my limited experiences of personal disability were going to be challenged, something I am grateful for, but the total outrage I felt at reading the unfair ways in which claimants have been treated was a baptism of fire into disability politics that has brought me, still smoking, to total belief in the relevance of Liz’s arts activism.

People are dying waiting for their PIP re-assessments, families are being put under terrible pressure, and press propaganda is turning neighbours against each other. 

The metaphorical clay from which we are all fashioned will, I hope, be transformed into literal protest in Liz’s hands, and I will be there, along with CoQuo and Dao to support this performance as it happens. Archie, my respite hound friend, will unfortunately not be in attendance as he is enjoying a retirement most humans would be lucky to have.

Matthew Fessey of CoQuo made an interesting point about the power of digital media; in that whilst only a few hundred people were in attendance at Martin Sheen’s speech his message has now been spread to millions thanks to a couple of smartphone cameras. Whatever our stories we must document them; the status quo cannot be trusted to record an accurate history.

Make art, share stories, shout loudly.

As I finish writing this post I have just received the great news that Trish and I have been accepted as Joint Fellows of the CultureHive Digital Marketing Academy; we applied with the intention of upskilling ourselves in the promotion of disability arts projects to even wider audiences.

Watch this space artists, or better yet, fill it!

Please sign up to follow @WeAreFigures on Twitter, where the 650 stories will be shared.

Posted by Alice Holland, 12 March 2015

Last modified by Alice Holland, 29 June 2015