This year, the British Council ran a career development opportunity for eight disabled and/or BAME (black and minority ethnic) artists to experience the Edinburgh Festival Fringe; seeing shows, attending talks and networking. We get the perspectives of the Programme Manager and one of the artists who attended.
Programme Manager, Steve Brett introduces the scheme:
“Designed to coincide with the British Council’s Edinburgh Showcase, the Edinburgh Artist Development programme is an opportunity to introduce artists who have been considering taking a show to the Fringe, or indeed applying for the British Council Showcase, to the machinations of Edinburgh in all its madness and seeming stresses. Although it acts as a big eye-widening experience for the participants, (and a little bit of fun), it is more about demystifying what is probably the biggest showcase and international networking event for UK artists to present work. As such, it can unsurprisingly be a little daunting. It is intense, but exciting at the same time.
The Development programme was conceived out of informal feedback we received throughout the country which indicated that artists, particularly those who identified as black and minority ethnic (BAME), and/or disabled, either did not think the British Council Showcase was for them, or had simply not even considered it an option. Begun in the 2015 showcase year by Nadine Patel, the British Council attempted to rectify that perception through the programme.
The programme covers most aspects of what goes on in Edinburgh, including conversations with international delegates, artists performing at the Fringe and Showcase, representatives from the Fringe, and attendance at breakfast networking meetings. It is hoped that participants will emerge from the three days better prepared and more confident to enter into the ‘total’ Edinburgh experience and, possibly more importantly, will have established a group of like-minded people to act as a support network for when that experience presents itself sometime in the future.”
Laura Dajao, is an independent integrated dance artist, who last year worked with Casson & Friends and Moxie Brawl. She is also Associate Director of Sardines Dance Company, an inclusive company that provides professional classes for the community. As one of the eight artists who attended the programme, she reflects on the experience:
“It appealed to me because it’s rare to have an artist programme that is there purely to support you without the pressure of having to create an end-product. They made it clear that this wasn’t about selling yourself to all these people – you can, while you network – but the sole purpose is for you as artists to experience Edinburgh Fringe Festival for what it is. To be able to see shows, talk to people, experience what it’s like.
As an artist, I still feel uncomfortable networking, but it was a great platform and opportunity to relax into it, without the pressure of having to bring a show to Edinburgh. Obviously, you hear the horror stories about people losing money, how much work it is, how quick the turnaround is and problems with venues. But actually being there and being reassured by organisers and people who have been through that journey, artists who currently have shows, makes all the difference. The British Council were very supportive in identifying people who would be useful to meet and introducing them to you.
It taught me that it is important that you know where you want to do your show, in terms of venue and what you’re going to bring with you. Personally, I wouldn’t bring a show next year, because it takes so much planning, especially if you are disabled. The turn-around at different venues is so quick. You do your show, then 20 minutes later there’s another show and you have to take your whole set down.
I did that extra planning in terms of getting around Edinburgh as a wheelchair user, because boy it’s hilly and there are so many cobbled streets. For example, at the Pleasance Courtyard is basically an office block, with all the stalls for food in the carpark. The carpark is cobbled because people don’t usually walk there. It was like ‘wow’.
They’ve jumped leaps and bounds on accessibility, and Jess Thom has been a great advocate. On the app now, for example, it says whether shows are wheelchair accessible, if there’s an accessible toilet or particular accessible shows for things like BSL. That’s great, but it’s also about some of the practical stuff like cobbles, surely they can be covered with something for wheelchair users?
There were two sessions introducing us to producers. One was a talk with international producers who come to Fringe to see shows and then if they like a show they’ll help take it on tour. Speaking to those people was really useful to find out what they’re looking for and also finding out how they work. The other session was introducing us to emerging producers who were attending a parallel programme. I met a producer who was really close to home for me, and is doing exactly the kind of work I want to be getting into so that was incredible to be able to make a connection like that.
There was also a trade fair with lots of different companies pitching their work. I met quite a few companies who work in quite strict contemporary dance, but haven’t worked with disability previously. It’s an interesting field now, because everyone seems much more open to the idea of making work that is disabled-friendly and accessible. And not just that, they are genuinely interested in breaking artistic boundaries – which is what I’m all about too.
I always want to learn new things and experiment with new styles, but it is still difficult as the types of classes I’d like to attend, such as hip hop often happen in basements or attics with no lifts. It’s a generalisation, but it tends to happen that teachers of those styles can’t afford to have big accessible venues. It’s understandable. But that’s why I’m trying to pioneer by making wheelchair accessible spaces for teachers to collaborate.
It was a fantastic opportunity to immerse yourself in what Edinburgh is all about. Someone said ‘we’ve gained as much knowledge over these three days as we would have spending ten years doing it by ourselves’. It’s that idea of just being a sponge and absorbing it all.
It’s crucial for artists in general, but especially disabled artists who face extra barriers, not to stick to your own circles. I want to reach new audiences – to get away from this idea that as a disabled artist you just make work for disabled people. It’s vital to make your work ‘accessible’ to new audiences. I think that’s what Edinburgh is all about. The sheer amount of people, and shows that are on in such a range of genres and artforms is astounding. It’s important for disabled artists to open our eyes a little and understand that it’s okay to integrate. We want to be seen for the works integrity rather than anything else.”
