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An elegy for ‘The Public’
I only saw The Public from a distance, from the other side of the Midlands, but I liked what I saw. It seemed a brave experiment in scaling up community art, in making the idea of cultural democracy real in West Bromwich. I talked with the people behind it when it was just an idea,…
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Respecting other people’s reasons for (not) participating
Making a book is enjoyable but demanding too, especially as the deadline for sending digital files to the printer approaches. Proofreading is my current priority, so lacking time to write something new, I’ll share some extracts from the book in advance of publication. This is from a discussion of the intentions people bring to making…
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More questions than answers: stories, art and ownership
On Tuesday, I spoke about participatory art at a conference in Valletta. The questions people raised afterwards were mostly the kind I can’t answer—doubts about power, vulnerable people, appropriation and the relationship between professional artists and non-professional artists. Participatory art presents lots of ethical, political or philosophical dilemmas to which you can only respond with…
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Cultural democracy and the European Parliament
Today, I got to speak at the European Parliament, at a conference organised by the Progressive Alliance of Socialists & Democrats. I’d never been before, and I was glad to have a chance to contribute as a citizen of the European Union while the UK is a member. The various presentations were interesting, but what I…
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One for the historians
In my view community arts must still be regarded as an experiment—an experiment in ‘cultural democracy’ of great importance not only for the immediate stimulus and enjoyment it can provide, but because its long-term results—or lack of results—will throw light on the question ‘arts for whom?’ which is vital for the future of our society.…
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François Matarasso 