Sacrifice – The CSPA

This post comes to you from Ashden Directory

In response to our New metaphors for sustainability series, Chris Ballance wrote to us and agreed we could post his email. As a playwright, Chris was one of our earliest listings on the Directory. He was Green Party Member and Member of the Scottish Parliament from 2003 – 2007, and now works for Moffat CAN, (Carbon Approaching Neutral), a community-owned company and charity.Â

One of the ideas that’s concerning some of us here is ‘how do we tell the cultural story of how good it could be to go green’? It’s inspired by the recent success of the SNP who – helped admittedly by dreadful campaigns by their opponents – based their huge election victory by selling independence as ‘Be a part of better’; a direct reference to a literary quotation from the author Alasdair Grey ‘Live each day as if you were in the first day of a better nation.’

A quotation doubtless unknown in London, but well enough known here in Scotland to be inscribed into the stone walls around the Scottish Parliament. The phrase has passed into commonplace so much that I’ve even seen ‘Be a part of better’ used to advertise merchandise in a shop. The SNP are using a cultural story and cultural references to achieve independence. (That’s to say nothing about planning to hold their referendum shortly after the 700th anniversary of the Battle of Bannockburn.)

How do we create a cultural story which can then be used to make sustainability attractive? So often it is seen as ‘sacrifice’, doing without, enforced change. (I often remember being on an election hustings with a UKIP candidate who told me “Look, we all know your green world is coming. It’s just that we don’t want it, and we’re going to do everything we can to put it off for as long as possible.”) How do we conjure up images of something that people will actually want?

Your exploration of metaphors is definitely a step towards this. It’s not just sustainability – the whole concept of environmentalism lacks it: the only metaphors to have attached themselves to environmentalism are those framed by our opponents; ‘yoghurt knitters’, etc. Thank you.

(And I love the Madagascan-based tapestry.)

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The editors are Robert Butler and Wallace Heim. The associate editor is Kellie Gutman. The editorial adviser is Patricia Morison.

Robert Butler’s most recent publication is The Alchemist Exposed (Oberon 2006). From 1995-2000 he was drama critic of the Independent on Sunday. See www.robertbutler.info

Wallace Heim has written on social practice art and the work of PLATFORM, Basia Irland and Shelley Sacks. Her doctorate in philosophy investigated nature and performance. Her previous career was as a set designer for theatre and television/film.

Kellie Gutman worked with the Aga Khan Trust for Culture for twenty years, producing video programmes and slide presentations for both the Aga Khan Foundation and the Award for Architecture.

Patricia Morison is an executive officer of the Sainsbury Family Charitable Trusts, a group of grant-making trusts of which the Ashden Trust is one.

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An excerpt from a post on Gary Steuer’s blog:

With all the financial challenges arts workers are facing these days – struggling to balance the budgets of their organizations, or dealing with salary and benefit cuts on compensation that was modest to begin with – it is easy to view the sacrifices people make to work in this field as being entirely financial.

Not to minimize the financial sacrifices – they ARE significant – but I would argue they are probably no more significant than a wide array of professions where people choose to devote themselves to the pursuit of “making the world a better place”. This includes early childhood workers, teachers, social workers, the whole world ofÂ NGOsworking in challenged communities, both domestically and abroad. And the sacrifices all these workers make are also not just financial. We all work long hours, and often under trying and unglamorous circumstances (though to outsiders arts work can seem glamorous).

No, I think the more significant – and unique – sacrifice arts workers make is that we lose the capacity for full, innocent and glorious enjoyment of the very art that our passion for drove us to make our life’s work in the first place.Â What do I mean by this?Â Think about your earliest experiences with the arts, your first encounter with Matisse, or Chuck Close; your first time in the audience for Sondheim, or Verdi; that time you first saw Baryshnikov on stage, or Judith Jamison. Remember that childlike joy – even if you were not a child – that total immersion in the art where the whole world disappeared and you were unaware of time, of the person chewing gum next to you? Now tell, me when was the last time you felt that?Â Sure, you are still passionate about the art form or all art forms, you still go to museums, or opera, or theatre, but something has been lost. Admit it.

Read the full article here: Â Arts, Culture and Creative Economy: The Greatest Sacrifice Arts Workers Make for the Arts.

A metaphor from politics: ‘Be a part of better’

Arts, Culture and Creative Economy: The Greatest Sacrifice Arts Workers Make for the Arts