e194 owais lightwala and sgs - manifesting for now

conscient podcast

• The majority of individuals who work in this sector are deeply concerned about climate change and deeply motivated and often doing a lot about it in their personal lives but as a sector, we don't really have a vision of what our relationship is to it. So the kinds of responses range from a kind of silence on it and trying not to look at it directly in the eye to a superficial level of conversation, saying things like touring requires flying : flying bad, therefore, we should stop touring. (Owais Lightwala)
• When we're living in moments of deep confusion and cultural fragmentation, to be able to offer something that has a simplicity to it or something that allows an audience to just breathe together, I think is the greatest gift that artists can offer audiences. And then when the world becomes less fractured, less fragmented, then the work needs to become more complex because the audience will start demanding, like, help me understand what we need to do differently or how we can live more cohesively or whatever but in this moment, in this country, and certainly I'd say in this city, Calgary, where I'm sitting right now, to be able to offer experiences where people can breathe and feel held and feel respected, even admired for their human experiences, seems to me the primary role of the performing arts (SGS)

When I first read the header for the Manifesto for Now project I was immediately drawn in because it said:

• We are concerned. We should be. It’s a crisis. Here are some ideas for how we got here. And where we go next.

I'm concerned too. The Manifesto also questions:

• In this moment of multiple seismic shifts: ecological, technological and social, maybe the performing arts can serve as facilitators for the transformation of humanity. How?

One could argue that all the arts need to undertake this seismic shift and transformation and how is a good question.

So I contacted the manifesto’s co-authors Owais Lightwala and Sarah Garton Stanley (also known as SGS) and we chatted on July 11th, 2024 about the origins of this rather radical project and its impact so far.

Owais is Assistant Professor in the Creative School at Toronto Metropolitan University, he’s a producer and entrepreneur in the arts and culture worlds who likes to think about big ideas, solve interesting problems, and build better ways of doing things. Among other things he is the founding Director of Chrysalis at the Creative School, a new multidisciplinary performance hub at TMU.

SGS self-defines as someone who is into Culture, what it means, how we do it and why we need it. SGS is currently VP of Programming at Arts Commons in Calgary, Alberta, a member of the National Advisory Committee National Creation Fund (NAC), a Board Member Theatre Alberta, a co-steward at Birchdale and among many things in the past SGS was Creator and lead The Cycle(s) in collaboration with Chantal BIlodeau, about theatre and climate change at the NAC in 2019, which I had the pleasure of working on while I was at Canada Council.

You’ll hear in our conversation about why the original manifesto was created in April 2023 on the Canvas platform and that they have published 6 of 10 essays so far.

The essays are provocative and at times funny. For example, in the first essay, Art is for audiences first, artists second they observe that :

• People are worried about the climate, groceries, housing, loved ones getting sick, their future… they are NOT asking for more art… They ARE asking for relief. For fresh air. For peace and quiet. For connection. For love. For direction. We need less of what we ARE offering and more of what we are NOT. What if the arts gave people what they need right now? What would change?

I love this quote and the opening quotes of this episode that reflect this kind of courageous questioning of the role of art and what kind of art do people need at this time.

Their second essay ‘We are not as important as we think we are (or The Shoe Shiners Dilemma), is equally as sharp:

• We need to make a much better case for what we do. Because we ARE more important than people think we are. Counter-intuitively, we think producing less will create more opportunities for a wider diversity of people to engage with what artists do. Less becomes more. We are all creative, yes, but we need to work together to make a case for our collective brilliance by betting big on individual brilliance.

Oh no. Not that trope again about the singularity of the ‘brilliant suffering artist’ again, blah blah blah! I disagree or at least I don’t understand. So you’ll hear that we did not agree on all points but that’s part of the fun of a manifesto isn’t it, to make us think more deeply, break through some barriers, question some of our rhetoric and assumptions and to take a stand. Who are we as a community and where are we going and, well … who cares?

So I was pleased to see that the last of the 10 essays, not yet written, is called ‘Start here. Your turn’, which I think is an invitation for the arts and cultural community to engage with Manifesto for Now and to respond, as openly and as fearlessly as our two colleagues have done so far.

Owais recommends:

• Children of Ruin, a 2019 science fiction novel by British author Adrian Tchaikovsky.

SGS recommends :

• Plurality, the future of collaborative technology and democracy
• Punditries such as Ezra Klein

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Chapters (generated by AI, corrected by Claude Schryer)

Introduction to the Manifesto
The host introduces the episode, hinting at the manifesto’s significance and the exciting discussion ahead.

Meet the Guests
Owais and SGS introduce themselves, sharing their backgrounds in the arts and their current roles. Their diverse experiences set the stage for a rich conversation about the manifesto and its implications.

The Manifesto’s Origins
The guests delve into the origins of the manifesto, discussing the questions that sparked their collaboration. They reflect on their shared inquiry into the purpose and impact of the arts in society.

The Role of Arts in Society
The conversation shifts to the role of the arts in addressing societal issues, particularly in the context of climate change and cultural fragmentation. The guests emphasize the need for artists to engage with audiences meaningfully.

Challenging Assumptions
The discussion takes a critical turn as the guests question the effectiveness of the arts in fostering societal dialogue. They explore the complexities of audience engagement and the challenges of measuring impact.

Future Directions of the Manifesto
The guests outline their hopes for the manifesto’s impact on the arts community, emphasizing the importance of ongoing dialogue and response. They invite listeners to engage with their questions and contribute to the evolving conversation.

Art and the Paradigm Shift
The guests discuss their personal struggles with imposter syndrome and the need for a paradigm shift in thinking, moving beyond superficial actions to deeper systemic changes. They emphasize the importance of giving people permission to engage with profound ideas rather than just tactical solutions.

The Arts Community and Climate Change
The conversation shifts to the arts community’s relationship with climate change, highlighting a disconnect between individual concern and collective action. The guests reflect on the need for a more profound sectoral vision regarding climate issues, rather than superficial responses.

Navigating the Climate Crisis in the Arts
The discussion delves into the impact of COVID-19 on the arts sector’s engagement with climate change, revealing how the shift to online platforms has not necessarily reduced carbon emissions. The guests explore the challenges artists face in accessing research and how this affects their storytelling.

Rebuilding Trust in a Fractured Society
The guests address the declining trust in society and the potential role of the arts in rebuilding connections among individuals. They discuss the importance of collective human activities in fostering trust, especially in the aftermath of COVID-19.

Cross-Sectoral Dialogue and Collaboration
As the conversation wraps up, the guests highlight the significance of cross-sectoral dialogue in tackling climate issues and rebuilding trust. They express a desire for ongoing discussions and collaborations that can lead to meaningful impacts.

Recommendations for Engaging Reads and Listening
The episode concludes with the guests sharing their current reading and listening recommendations, reflecting on how these works influence their thoughts and creative processes. They emphasize the importance of diverse perspectives in shaping their understanding of intelligence and society.

Invitation for Dialogue and Critique
In the final moments, the guests invite listeners to engage with their ideas, encouraging feedback and critique to sharpen their thinking. They express gratitude for the opportunity to discuss their work and the importance of community engagement in their creative endeavors.

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END NOTES FOR ALL EPISODES

I’ve been producing the conscient podcast as a learning and unlearning journey since May 2020 on un-ceded Anishinaabe Algonquin territory (Ottawa). It’s my way to give back and be present.

In parallel with the production of the conscient podcast and it's francophone counterpart, balado conscient, I publish a Substack newsletter called ‘a calm presence' which are 'short, practical essays about collapse acceptance, adaptation, response and art’. To subscribe (free of charge) see https://acalmpresence.substack.com. You'll also find a podcast version of each a calm presence posting on Substack or one your favorite podcast player.

Also, please note that a complete transcript of most conscient podcast and balado conscient episodes from season 1 to 5 is available on the web version of this site (not available on podcast apps) here: https://conscient-podcast.simplecast.com/episodes.

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I am grateful and accountable to the earth and the human labour that provided me with the privilege of producing this podcast, including the toxic materials and extractive processes behind the computers, recorders, transportation systems and infrastructure that made this production possible.

Claude Schryer

Latest update on October 26, 2024