GEEK’s Storyteller in Residence

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The GEEK festival in Margate is an interesting thing. On one hand, it’s a gaming festival, with everything from retro arcades and Minecraft to edgy boardgames and a side order of Cosplay, comics and toys. Wrapped around that is a layer of art, including new commissions, digital art, and game-making.
 
But underneath all of that is the proposition that digital, gaming and the wider creative sector are vital to the economy of East Kent, and that their potential is being ignored in things like regeneration strategies. Those documents always look at attracting big employers, where a more resilient digital economy is built of lots of small, agile companies who co-exist, share services and overlap.
GEEK was created by the team at HKD in Margate, a research-led design studio who work in science centres and museums to design world-class exhibits. Alongside their own practice, they run Marine Studios (where I have a studio). 
 
A couple of years ago, I produced a newspaper for the festival, the GEEK Gazette – which included the programme, and some fun stuff, but also looked at the future of work, emerging technology, and the way creativity and gaming contribute to the area. Writers included the then-minister Ed Vaizey, Tuttle founder Lloyd Davis, and the Centre for Creative Collaboration’s Brian Condon.
 
Well – GEEK is back this year, and moves to a new venue, Dreamland. And I’ll be back there too, with a new role as Storyteller in Residence. I won’t be telling stories, but collecting them, to help tell the story of why GEEK, and all the things it’s about, are really important.
 

Theatre conference in Galway

There is no individual act in performing arts that does not require collective effort to be realised.  Together each individual element, be it the artist, producer, venue manager or facilitator, forms a collective experience for our sector, and our wider society.

Too often the “Them and Us” distinctions we draw can become entrenched and hostile.  This conference, will look at these perceived boundaries through a variety of lenses – exploring the separation of artist from state, distinctions between makers and audiences, performance spaces and communities, the “established” and “emerging”. Do common issues and concerns arise?  Are there shared approaches that could be more fruitful? What is our single and collective responsibility?

There are plenty of opportunities to talk, and in my time I’ve covered leadership styles for multinationals, digital strategies for social action, grassroots regeneration of town centres and everything inbetween. In June, I’m travelling to Galway for the All-Ireland Performing Arts Conference (APAC) to talk about the performing arts need individuals and a collective effort.

It’s a subject that I find very interesting, particularly as theatre (where my career started) offers such a different approach to the visual arts, which hold up the myth of the individual as the artistic genius. I was standing on the waterfront in Newcastle, NSW a few years ago talking to a bunch of interesting people after a conference (Marcus Westbury, the Renew Newcastle gang, the great people from Gap Filler in New Zealand) – and we realised that all of us, and the people we admired who were taking creative collaborative approaches to urban renewal, had a thread of theatre in our backgrounds.

And it’s an approach I’ve applied to 15 years of working with mostly visual artists. I am beginning to realise that the lines between the different elements of my practice, between performance and design and visual arts and regeneration and urbanism and social action, are very thin.

Perhaps, in a dozen universes that are just a subtle knife cut apart, I have different job titles; artist, writer, activist, producer, urbanist. For my talk at APAC, I’ll try to tie them all together.