Welcome

I’m Toby Lowe, Chief Executive of Helix Arts. We help marginalised and disadvantaged people to explore, reflect on and share their stories by taking part in a wide range of artistic activities, including film-making, dance, music, photography, creative writing, design, animation (and much more). This blog is to share our ideas and practice about the arts, and the role of the arts in society, and provide us with a mechanism to get feedback about what we do. We hope you find it (by turns) interesting, irritating and thought-provoking. We’d very much like to hear what you think.


Friday, 24 May 2013

The role of the arts in supporting personal development and wellbeing

It’s pretty usual to hear people in the arts talk about wellbeing. (Generally, we talk about it whenever our funding is under threat. “No” we say. “You can’t possibly cut us. We contribute to people’s wellbeing.”
And it’s true, we do. But how many of us in the arts are engaged with the people who are thinking about wellbeing (and particularly the wellbeing of the most disadvantaged) week in, week out? When Newcastle’s arts sector was successfully fighting against the 100% cuts that were being suggested, the arts’ contribution to wellbeing was frequently mentioned. And yet when a seminar was organised by Newcastle Council two weeks ago to discuss Newcastle’s Wellbeing Strategy, there were only two arts organisations present.  All the senior people from the Council were there. All the city’s key voluntary sector organisations which promote wellbeing were there. Where was the arts sector?
We need to do better than this. If we say we make a contribution, then we need to be part of the conversations that make it real – that enable us to join up with others doing this work.
And the most important reason why we need to be part of these conversations is that we have something unique to offer.  Making art is a process of discovery. Of embarking on a journey in which the destination is uncertain: 
 

“Each picture as I finish it, seems like the best thing I have ever done…and yet after a while I am not so sure. It is like taking a train to Marseille. One knows where one wants to go. Each painting completed is like a station—just so much nearer the goal. The time comes when the painter is apt to feel he has at last arrived. Then, if he is honest, he realizes one of two things—either that he has not arrived after all, or that Marseille…is not where he wanted to go anyway, and he must push farther on.” Henri Matisse

This is especially true of Participatory Art. Participatory Art offers people the opportunity to explore their own personal and creative journeys. To explore who they are through creativity, to understand and share the story of themselves. It doesn't prescribe an outcome in advance. It doesn't say, "you must have a job at the end of this programme". It doesn't say, "you must achieve a 15% improvement on the Warwick-Edinburgh Mental Well-being Scale". These things may well happen, but only if they're right for the people concerned, only if they're part of the journey that people have decided for themselves.

Much of the social policy world  (which is where these conversations about wellbeing mostly happen) has become victim to Outcomes-Based Performance Management (OBPM), which in its purest form exists as Payment by Results. This discourse tells people what they must achieve in advance (a job, a 15% improvement…) and anyone who fails to achieve this gets punished.

It doesn’t matter if having to take the first awful job that comes along is actually harmful for that person. It doesn’t matter if declining scores on the Warwick-Edinburgh Mental Well-being Scale actually represent an improvement in people’s wellbeing because they now have a more realistic appraisal of their own lives (this is a relatively common story from participants on arts and mental health projects); unless you achieve pre-defined targets, you will be punished. The organisation which failed to deliver this target doesn’t get paid. The worker who has failed to make their client achieve gets fired. The service user who fails to make the grade gets their support withdrawn. (Work Programme clients who are judged less likely to get a job receive significantly less support).
When we do Participatory Arts well, our sector represents one of the remaining bastions of genuinely developmental activity to support people’s wellbeing. We achieve outcomes, but we don’t get trapped in the bureaucracy of telling people what those outcomes must be in adavance. We empower people to take the journeys that they want to go on, because that’s what right for them. We free people to start by thinking they want to go to Marseille, but then realise that their destination is in their own hands.

This is part of what the arts has to offer those who are thinking about wellbeing. Let’s engage.

Wednesday, 22 May 2013

Critical Conversation: A Case for the Arts


A conversation exploring the ways in which the arts can enhance and be embedded within wider service provision and non-arts disciplines. 
 
Critical Conversation: A Case for the Arts is an evening of presentations and discussion; open to all. Reflect on the tools and techniques required to deliver arts programmes in non-arts environments and hear about models of best practice that inspire and invigorate!


Audio from group discussion, chaired by Chris Ford, available to listen to here


Speakers:

Steven Rowntree
Steven has worked in a range of public health related fields over the last 10 years, employing the arts as a tool to engage with mental health issues




Nicola Maxwell
Nicola is a photographer and particiatory arts facilitator with extensive experience of working with young people and adults in challenging circumstances








Friday, 19 October 2012

Guest Blog by a participant

- 1 -


It was a cold autumn morning in 2009 when I was introduced to the person who shall be known as my photography teacher, I was in Ashington. As I entered the building, I saw dull faces everywhere, until I walked upstairs into the big room where I was introduced to Nicola Maxwell who, along with Helix Arts, would introduce me to the world of photography and give me a lot to laugh about. I hated going to STQ (the base of the Northumberland Intensive Surveillance and Supervision Programme -ISSP), but I knew that once a week I would be able to get out with the cameras and snap some pictures of rural Northumberland. I didn’t realise then that at the end of this project I would curate and install my own exhibition at Woodhorn. As the weeks went by, our group learnt more about photography and techniques to show others how to accomplish tasks. This could sometimes be tiring as the other young people did not always feel they wanted to be involved. This was overcome with the young people getting out in the car with Staff from ISSP and Nicola. Even though the winter was coming, and at points nobody could be bothered, everybody kept high spirits.


I can remember the first picture I snapped on a proper SLR camera, it was of the Powerstation at Lynemouth from a hill on the beach a few hundred metres away.  This at first didn't seem interesting until I had actually realised "yeah, I've just used a proper camera ha... I want one now".





- 2 -


After everything I had achieved with the photography project in Northumberland I kept in touch with Helix Arts to let them know how things were going. In the summer of 2010, a while after I had finished my initial photography project, Juliana Mensah from Helix asked me to be the photographer for an event as part of a young people’s project in Byker. I did this with a graphic designer by the name of Tommy Anderson; who I’d met in previous workshops with Helix. By this time I had enrolled onto a college course in Newcastle doing photography. I used Juliana’s offer as an opportunity to gain some experience in documenting events before I entered college.

I had arrived on the day with my camera, and started shooting pictures of the event.  I didn't capture any young people's faces whilst shooting, as this was part of the brief I'd been given.  It was challenging to do but I managed to capture some strong images.  I was praised by staff at ISSP Byker for my work with Nicola in Northumberland.  After the shoot had taken place I talked to people at the event to see what contacts I could make and to tell them about future projects.  It was still daylight when I made my way home, onto the metro I went.  When I got home I immediately started editing pictures for Juliana and I gave them to her the following week.






- 3 -


It had been a while since I had last been in touch with Helix and I wasn’t sure if they would still want to keep in touch with me. But as I’d met Nicola for a few mentoring sessions at the Helix office during the Northumberland project in 2009, I figured I could still keep in touch – so I did.

In Spring 2012 Helix offered me a great personal development opportunity, the chance to build a portfolio, gain more knowledge and document events. I also got the chance to work with Nicola again. I said yes as this was a great thing, I didn’t have a proper portfolio, so along with Helix, Nicola helped me build on my portfolio. I was given a budget to manage and a great sum was taken from this to print my portfolio and buy the essentials I needed for this. We looked at my older images of Northumberland as well as looking at my newer work to see which I could fit in to the portfolio. The mentoring sessions with Nicola also involved other support like: successfully helping me apply for a degree course which began in September 2012. I plan to keep in touch with Helix in the future as they’ve always been there for me when it’s come to things like this.