MA Evaluation of the Practical Project Jan 2012

REPRESENTING RESISTANCE: PERFORMING RESISTANCE
REALWORLD CONTEXT & Relevance:

Whilst working on evaluation of the practical research, part of the over arching theme of representing resistance: performing resistance, I have also been updating and developing the documentary production. So this written evaluation is in 3 parts, a written report, an updated work in progress of the documentary and part of the Q & A after a screening.

The subject of political representation, which the 47 projects re-raise, and what are the potential alternatives to capitalism, is very current. Last week the General Sec of Unite, challenged the labour leadership over its over move to the right and acceptance of the need for ‘austerity’. Unite’s national policy is against all cuts and is one of the largest funders of the Labour Party.

Returning to the Liverpool location, with labour council cuts of £141 million over two years, a raging debate on what the council is doing and what impact that is having continues. "If Labour is saying it will continue with the same policies [as the coalition], why would you vote for them?

This weekend sees a newly formed coalition of Trade Unisons and Socialist Coalition (TUSC) meet in London to discuss standing in elections with trades unions such as the RMT and POA seriously considering fielding candidates.

The timely nature of this project does add more pressure on its development and completion. Overall this practical project is behind, in terms of deadlines, behind in terms of gathering and analyzing the research and the necessary academic process that could take the bridge from the practical project to a dissertation, whatever form that is. Question to self: Step up or Step back in the coming weeks?

PROJECT Method & Practice:
This MA has been an important step to develop a layered audiovisual project on the relevance of the 'Liverpool 47', surcharged councilors in local government office between 1983- 1987. It is a joint project with a long-term collaborator, Lisa Lonsdale, who had suggested it back in 2006. Her main role has been as editor.

This whole project challenges the idea any created medium is objective and that objectively and fair distribution representing a variety of perspectives and stories is balanced across the media. I will refer to this more in terms of how I tried get screening I Liverpool and also marketing support.

The overall methodological process fits within the Action Research model as described by Whisker (256: 2001) “ an opportunity to try out an idea...to assess and evaluate effects. then move to apply it further” it also fits a collaborative & reflective method of working which requires “working with other people to discuss, plan, test, retry, ensure validity”. (Whisker: 256: 2001).

The methods and process are part of a multi-layered approach that is hugely time consuming but for me, each medium with which I work, or process, another overlaps, expands, develops and contributes. No one idea, or process is sufficient. This is continually expressed in how I am marked within this MA. In May 2011 I gave in 3 pieces as my practical production, including a 40-minute documentary style project - skeleton verbal narrative, a 2000 word document to explore where the project was, aesthetics, collaborative challenges and debates, plus a recording of an hour presentation and feedback event for Cultural Memory students. Each part of the process is important to the work, methods, my learning style and project development.

However, looking back I spent several weeks in the digital gallery on two occasions and had not requested I be marked on that as part of the practical manifestation of the research, nor images I had created in the period of the MA which I had used & continue to use. Why? Perhaps my ongoing self-consciousness about being some kind of 'artist' meant that I didn't feel I could or should be marked in that way.

Almost to challenge this I will reflect on a picture which I think expresses this project and themes and still speaks to others and me one year after it was taken (Front Cover of this evaluation). A question arises, maybe one image, was all that was needed? And it was a lack of confidence and editing ability to strip down the essence of the work, which alone was able to open up a discussion, engage in debate around the struggles against cuts that have been ongoing.

The picture has been read as a reflection to the student occupations, as mass mediated images of the taking over Millbank by those attending the gallery and in discussions. It can, and has been, read externally by others as referring to the riots and the damage to property, which was again the main focus of mass media representation and discussion. The image, for me, also speaks of the internal and external crisis of capitalism, and the shattering of illusions that over and over again exposed themselves in small and larger scale ways. It is now placed inside the film as one interviewee talks about what made her get involved and the shame of being unemployed, being broken.

In a book written about the Liverpool 47 campaign, ‘The City that dared to fight’, refers to Trotsky writings, on the Russian Revolution and 'great months of slander'. As a reference to the way in which the mainstream and local media represented the campaign. "When it comes to a threat against their material interests, the educated classes set in motion all the prejudices and confusions which humanity is dragging in its wagon train behind it. " (Trotsky: 322: 1988). With this practice model of creating a project, which also had a Trotskiest political leadership within the 47 councilors, how much of this is applicable now? And particularly with new technologies which I heavy rely upon for research, production and research.

Between May and December last year, in the evaluation period the documentary project was further reviewed using some of the feedback we had gained. We needed more relevance of today, more archives of the mainstream press, evidence, local cutaways and general ‘movement’. All of which most mainstream campaign or campaign documentaries include but without them, it could easily be read as 6 individuals looking back a small event. The mainstream media archive material added credibility to the arguments that the tools of the state, as Marxists and Trotsky refers to, were used against a Labour council challenging the ideas of Capitalism.

I returned to Liverpool in August, to access some archives around the project that had been provided to Liverpool Libraries by a group of the Liverpool 47 councilors and supporters several years ago. These archives were still not publicly accessible or had been categorized and I had been in touch for over a year to request access. This again expressed questions around who puts this material in the public domain.

I also met several of the participants, one reminded me of the fact this city had a one off event called "CITY OF RADICALS' (CoR) and the Liverpool 47 were not featured or programmed within that. For the ‘Liverpool 47’ and those who supported them, this was another example of how that struggle was not recognized, suppressed or represented. It was an important opportunity to test out the idea of whether the 47 campaigns were being consciously hidden.

From this I contacted CoR via their website and despite several emails over 9 weeks I got no reply. I finally got a reply from the Artistic director of the Bluecoat who were the main organizers of the festival, forwarding one of the first emails and asked how work was programmed and why my email had not been responded to. (APPENDIX 1) I was told it was a self-selecting program and no one was being censored. However I am aware several elements such as the ‘Democratic Promenade’ had artists chosen, funded and marketed – Is this really a democratic model of curation and distribution of ideas?

Over the same period I contacted several organizations including Unity Theatre and FACT to hire or access screening and discussion space. Only Unity got back in touch, and that was in largely to do with a past connection with a member of staff and it was still a paid hire so unlike many of the other CoR events. Representing and Performing Resistance on the 47 was not on a level footing with other projects.

It then took several emails (and conversations) to get the project information onto the CoR website and finally via their social networking sites including twitter. So whatever is said about a democratic, self-selecting project, without the same financial resources as other works had and without significant promotion, representing and exploring controversial working class history was again going to be bubble beneath the surface. For those involved in the 47 that I had been in touch with, they were extremely pleased that something, however small and however late, was on this program, was acknowledging that struggle.

As I had some years online marketing experience, I made some use of the CoR website link via emails, Twitter and Facebook. Through past relationships (which I would argue has assisted throughout this project from participant access through to venues) Sheffield Documentary Festival & the Trade Union & Socialist Campaign re-tweeted information, both with significant followings. Attendance was important but raising the profile of the 47 and the an alternative to cuts was paramount to me. CoR finally did add something to their social networking sites but only in the last 24 hours prior to screening and after emails expressing concern about why this project was not given the profile via project marketing that other pieces had. (APPENDIX 2)

Space and impact (& possibility) I added some props to the space. So visitors could feel and see some more layers to the work. One of the interviewees had a t-pot of Thatcher and was encouraged to allow it out and give it a place on set. Books from other participants and papers were added, a clock with one of the children of an interviewee born in the midst of the campaign was hung up and recent campaign t-shirts. It was commented upon by several attendees that that worked and made sense to them to have them there.

Some FEEDBACK from the screening itself - 49 paid attendees came to the theatre screening, several apologies by text and some people could not get away from work.

1. Discussion recorded at screening after November screening:
This was mainly a discussion about what was happening now and some elements about what happened then and some small film specific feedback. Most of the film participants were on the platform, bar one who was sick and could not attend and another who was the most uncomfortable appearing on screen, though she did contribute from where she was seated twice, developing confidence building and understanding of her role in the struggles past. (Fuller Comments in APPENDIX 3)

Further responses after the work in progress Screening on 17th November 2011 In the pub 10.20-1am - I should have arranged for all those who wanted to go, to go to the same pub, in a city so small we ended up in 4 different pubs and some of the newer people to the event were not at the pub I went to. (APPENDIX 3.2)

2. Emails from audience attendees that I did not know - I have chosen those as that gives some sense of wider audience engagement, this expressed an interest, some critical comments on imagery and also that it had inspired them. (APPENDIX 3.3)

3. More: I also got a text from one of 47 councilors "Thank you for a thoughtful and beautiful film& I am re- inspired', so much so she also offered to bring round some additional material and information the following day. Material from 'not the echo' the local campaign magazine about race and Liverpool, also who else could be interviewed about city council and socialism.

I did email all participants a questionnaire about the project and sadly no one responded to that, to other conversations and stating they were interested in its development. I will need to call or meet them, which seem to be the most effective way to gain feedback and create engagement.

4.Since then I have been challenged by political representatives over who is in it and who interviewed. This will just be the start of a challenging defense of the project, that I also have to prepare for inside and outside of academia.

Project ETHICS specifically representation: Class & Gender
Working class representation has been key within this project, not generally but how have working class people in a period of time taken charge political leadership with a socialist programe and what that meant. The recent examples of demonizing the working class, part manifested through the use of 'chavs' and those deserving and undeserving 'poor' is more than just play, it expresses an ideological intention to show a grouping, however loose, however contested, as incapable of functioning in society properly, least of all taking it over! This was in contrast to bankers taking bonuses and gaining huge pensions despite causing the recent economic crisis. Within this article there is reference to a report within The Telegraph, "Many people have use chav as a smoke screen for their hatred of the working classes' he goes onto to argue this is used to justify inequality (Douglas: 2011: 18).

I consciously and practically ensured that women were within this piece, noting that if I had left it to just those who were keen to speak, that would have mainly been men but is it enough? Does it really make any difference in how women see themselves, working class women and what influence could and does that make on any struggle or campaign? This is still to be fully extracted from the participants.

Even at the post screening discussion it was men who were clearly more confident at speaking publicly so I worked hard to engage those from the floor more quickly so they did not just hear from those who had practice at contributing in a public space.

There is an ongoing need I have, to understand some basic and more complex concepts of editing and spatial montage, and though the project has a few moments where it could be said that the work displays this, the exhibition format manifested this more strongly. The updated version shown in Liverpool in Nov 2011, had more split screen work, much of it was more of the show and tell, based visualization of the story but using archive material such as legal documents and media articles to evidence and express the factors that were within this debate and have also influenced why this project has been created - to re- raise a invisible struggle against thatcher ideology. There is also some shots just allowing music and some words and names of those involved there, to give space and time for work to be considered so its not a bombardment of idea and argument after argument. There is huge amounts of work and consideration needed on the graphics and sound too.

As it was decided to use documentary as more accessible than a gallery project for audience access and diversity what was missing by not providing actual objects re-assembled, collected and added to day by day? Installation allowed for evolving, engaging, developing conversations and tactile layers.

WHAT NEXT? Documentary or MA dissertation or can one be both?

The Documentary needs more moving image material past and present, Archives from mainstream TV which have a huge cost implication if to be distributed, distribution strategy and marketing support, another editor, sound mix, fundraising strategy such as what is used in the trade union and campaign movement, which Mclibel – Spanner films now call ‘crowd funding’. This is almost a full time project, if I move forward with it but it will be limited, rushed and basic. So perhaps it’s a chapter, and other could be around housing and the current housing crisis and the 47.

The question also is what will take for me to complete this MA? How to critically analyze the use of social networks to debate and develop discussions around the Liverpool 47, and more wider discussions around a new workers party and socialist ideas. Or what difference can a film make? Can a film make a difference?


BIBLIOGRAPHY

Douglas: K 'Writing off the working class?' (2011) In Socialism Today Issue 153 : Socialist Party: London
‘How Ed Miliband's cuts policy is dividing Labour's heartlands’

http://www.guardian.co.uk/politics/2012/jan/20/miliband-labour-cuts-liverpool-reaction?newsfeed=true (Booth, R) 20.1.2012
‘Labour’s embrace of austerity fails working people and their party’

http://www.unitetheunion.org/news__events/latest_news/labour_s_embrace_of_austerity.aspx Unite Press Release (16.1.2012)

Taafe, P & Mulhern T (1988) 'The months of great slander' in 'Liverpool City that dared to fight' Fortress books, London
The Postgraduate Research Handbook, G Whisker Macmillan 2011

‘What can Grounded Theorists and action researchers learn from each other?’ Bob Dick in ‘The sage book of grounded theory’ A Bryant, K Charmaz (SAGE)

Thain, M (2011) Art Mass Production’ Manny Thain in 'Socialism Today' Issue No. 153 Socialist Party, London
Williams, G (2011) Shafted: The Media, The miners Strike & the aftermath () Campaign for Press and Broadcasting Freedom
ORAL - in Person, observations and discussions. Ongoing process of attending meetings of trade unionists, anti cuts campaigners, socialists 2-6 times a week that are part of the huge and ongoing oral process of exchanging ideas and develop process. I could not begin to name and note which ones have influenced this work but the combination of them all and the ongoing need for collective discussions and actions to make change. There have also been huge amounts of industrial actions from picket lines through to wildcat strikes and roadblocks instigated. All of these actively feed into this, here and now. 





APPENDIX 1.
Correspondence with City of Radicals Director







APPENDIX 2

Another Email Request for City of Radicals to market the film


APPENDIX 3
Summary Feedback at he Q & A (recorded)

One young woman whose parents were involved said it inspired her, but that she also would be willing to help in whatever what that was to develop and distribute the project.

Another representative of the Free University in Liverpool - said it was moving - they could do to assist in it being screened and distributed.

Several remarked on the role of the media in not presenting the struggle audience member asked how we were dealing with the media.

One person asked for more moving image and images of the achievements.

2. Conversations as feedback
One woman said it had inspired her as much as seeing a Michael Moores film - she had no time but was willing to contribute money.

- Another Felt that the work did not go into the controversial side about the redundancy notices, Sam bond and role of militant in the leadership. Felt it was propaganda for the Socialist party (formerly militant). Wanted to collaborate on project but on the basis of those elements being at the fore. This person is a well-established photographer who has profile and standing and could do this alone.

- Several reflected on the timely nature of the project and getting it screened in more places.
Requested watching the project and how to share this was by 3 under 25's via Twitter, noting the use of social networks to engage a new generation. One other who also had an interest but wasn't able to attend.

3. Emails feedback from unknown audience
" are you planning to interview any more of the 47?á … would have liked to have seen some of the houses that were built …to hear from people who live or lived in them, or were involved in the planning meetings. A One (very minor) where there was a lot of text I found that I was trying to read it and to listen at the same time, so I missed both.á But that's very minor.á Other than that I thought it was great..Do you plan to do any more screenings any time soon? " (GW by email 18.11.2011)

"I was thinking about financing support for completing the film … Heritage Lottery Fund as they are quite into supporting oral history projects which this film definitely could fall under& Obviously the film has a great relevance for our time, but that is another plus in terms of what they might support. " (B from TT 21.11.2011)

"Thanks a lot for sharing your fantastic project last night. I really enjoyed watching your film. It is informative, passionate and humorous. And it inspires me with hope."

The talk was an interesting experience for me. It was like a volcanic eruption of political passion, inspiring at the same time as intensely overwhelming If you wanted to show at the Occupy Tent City University, just go to their website and sign up or write them an e-mail http://tentcityuniversity.occupylsx.org/?page_id=6 I think, it would be of great interest to them." (BJ; 19.11.2011)