As the local establishment repeatedly demonstrate a lack of vision, living on the Coast can occasionally lead to despair. A lot of the debate, discussion – conversation is the latest term – has not taken place, so there is a going back to the beginning, and having been through the process years ago, it can feel tiresome.
Take the issue of support for the arts. Despite the arts being useless (not providing food or shelter), people have always created. It’s as basic as language. Once we moved past tribal or village life and more hierarchical and then capitalist relations took hold, and as the arts are labour intensive and considered a public good, the necessity of patronage, particularly public patronage became accepted. The debate around that patronage has been complex, circling around issues of privilege and excellence, mass participation and democratic purpose. Of late relationship to tourism and trade generated a creative industries concept and the community arts model has always been present, as has the therapeutic impulse. And then there’s Maori art and Pasifika art…
After advocacy for regional funding took place, Creative NZ has introduced a regional arts fund and I intuited that a coherent regional strategy would assist applications from the Coast. However, the CNZ model has a requirement to have contributions from regional stakeholders, in order to add value.
This creates a problem on the Coast for there is a sparse corporate sector, and councils are small and stretched. However there is an economic development body and this body should become the significant stakeholder. And I’m not talking about a big contribution: five to ten thousand dollars a year would possibly bring in forty to fifty thousand dollars. All good, gather a network of local artists, write a strategy and approach the body with what seems like a win-win situation – only to find they have little idea what I’m talking about.
– Writer in residence? What are the outcomes of that? A summer Shakespeare? A story telling tour of small towns? Where are the jobs? We’re on about the real world…
– There’s this proposal to barge shingle to Auckland. Some American company are looking at garnet mining. We’ve got a number of small business proposals. And we run entrepreneurial workshops.
– Don’t you see that stories generate stories and that the economy is simply a story? How do you quantify the knowledge that there’s a well known writer come to town to write a book? How do you quantify that there’s some actors coming to join locals to rehearse Hamlet and that you can then go and see the play and people will come from elsewhere? How do you quantify the outcome of listening to a story about a local inspirational teacher in the 1930s? How do you quantify a community film project which gives young people opportunities to be on a crew?
– Sorry, all too vague. That shingle project will generate 4 jobs.
– This is so dumb.
– I don’t like your tone. You won’t get anywhere with a tone like that.
It’s like negotiating with Jesuits. They only listen to themselves and a narrow ideology of clichés, whereas the activist has to listen, analyse what is being heard and then focus on an image, nurturing that image, seeking resonance with the wider community. The activist is operating from within a creative model, not perpetuating a bureaucratic, quasi religious order.
The despair comes then from this realisation of probable impasse. But to despair for too long or too often is poisonous. What to do becomes the question? It is of course what the Zapatista understood early on and they came to the conclusion that a parallel system was the only answer.