16.13 Why I write??!

I feel like I should write something.. Been here since around 12 and the time has just gone..

Dave sinclair - photographer, came in and that was good, so he could see what we were up to. He is still keen to do his live audio version with his photographs for the dockers and also with the 47. It would be good.

He said the thing he could see that was missing was Derek and Tony but also the issue of redundancies. I wonder if anyone has a copy of those redundancies.. and the tactics around that? Dave also has old copies of the militant too, which is brilliant.

Paula Roush also came in and said it was good I was doing this and that she might show me her protest sounds and work which related. She saw the December work which she liked. Funny as I dont recall her coming in...

Anyway today me and blutack go close and the walls got a bit more flyering.. which I think this helped. It needed some context, why now, what is happening now?

4.45pm in the DAG.. without people?

4.45pm in the gallery.. without air.. Am I mad? Its flown and I have heard these interviews 5 times today. Good to get that familiarity... but its also distant. Perhaps not contextualised.

Put an imac in one corner to show a few pictures from the 26th March demo.. and that seems to work.. it has colour, new, current, alive, fighting fresh!

A few tutors in Andrew, Daniel, Anna and another plus about 6 other people. Only one or two actually staying for the time, guess if they don't know its on and how long it is going on, that you can't make time.. we need time to engage.

One person from TUSC wanted to come in and another member of staff for next week. Next week is now possible, can I be here for that many days? Or maybe cut it 3 days including Friday and have a later start?

Lisa has changes now and will update for Friday next week. Possibly update before dave sees this on Thursday afternoon too. I have sent some additions and a tiny cut, she will re-order and maybe also re-size the images at some point in the future.

You know I need people to engage with and I have to a degree. I wonder if people think its cos I think I am brilliant rather than need and want thier energy and inclusion. It gives me the spirit and breath that makes me see what I am doing and whether it works.

Whose side are you on? RSVP

Whose Side Are You on?
(47 Working Title) (45 Mins approx)


A pre-rough cut of a documentary about some of those involved in the campaign against cuts in Liverpool in the 80's will be shown over the next three days. This Liverpool 47, as they became known, and the surrounding campaign is becoming more and more relevant as many Labour councils chose to implement huge cuts, despite local and national opposition. They argue there is no choice, this piece is a tiny contribution to this ongoing debate. In London, there are only a few council seats being contested, however across the country 180 anti cuts (TUSC) candidates are standing, arguing there is a choice.

It is a relatively small collection of interviews, with some of the councillors, workers and local people involved at the time. Under Thatcher, the Tories made huge local and national cuts, Liverpool city council was one of a dozen councils that had voted NOT to pass on Tory cuts but in the end only Liverpool & Lambeth stood firm.

This pre-rough cut is a starting point to show a little of how & why they fought the cuts and built more council housing in 4 years than the rest of the country, as well as so much more.

Dave Sinclair (photographer) will has also agreed for his photographs to be shown as part of this. He also is likely to be in for an hour too.

I will show this 2-3 times a day (contact me if you have a short amount of time and need to know the schedule):

The Digital Art Gallery,
Borough Road, SE1
Between Elephant & Castle and Borough Tube.

11am - 5pm Tuesday, Wednesday & Thursday this week only!

(Non LSBU staff & Students need to contact me to get on a visitors list)

Look forward to seeing you over this week and please forward to anyone you think might be interested in this and RSVP if you are thinking of coming.

This project may take a year to fully complete but we thought it best to get some feedback in now and see what you thought.

Arti

Liverpool Archives

http://www.liverpoolinprint.org.uk/index.php - recoffice.central.library@liverpool.gov.uk 1.	The March Of Militant
2.	Militant tendency: newspaper cuttings. Title Militant tendency: newspaper cuttings. Repository Liverpool Record Office Class 324.241 CUT Notes Compiled in the library. v.1: 1982-1985, v.2: 1986. v.3: 1987-1989. Subject Local Government
3.	Merseyside Militant (Section 1)
4.	Rally: handbill, Monday, 9 April 1984, St. George's Hall Title Rally: handbill, Monday, 9 April 1984, St. George's Hall Repository Liverpool Record Office Class 322.42 MIL Author "Militant" Newspaper Pub Date 1984
5.	Liverpool : a city that dared to fight
6.	By any means necessary: militant, blacks and youth in Liverpool, 1970-1985 Title By any means necessary: militant, blacks and youth in Liverpool, 1970-1985 Repository Liverpool Record Office Class 322.42 WIL Author Williams, Susan Pamela Pub Date 2000 Notes MA in Labour history
7.	The Christian Militant: Lent With St Mark's Gospel
8.	The Racial politics of Militant in Liverpool: the black community's struggle for participation in local politics 1980 - 1986

Symposium day 1

Some thoughts from today.. everything in the end is about editing.. cutting down what you have, as we all have something and making it manageable. You (I) cant decide what you might think of what I do but we can direct it.

I like the idea of people creating worlds, even a bible, and the character is alone because they don't trust anyone.. For J, it 'opened up storytelling to a new audience', he also re-iterated 'I 'm not an artist'.

Responses I noted:

From a possible script (?) to manholes about dual layers of society and then the 47, noting the coalition government now and the 80's. What was the same and what was different. Noted tutorial challenge of bais of words on how to assess work. Very open, very concious.

M - Non verbal communication is more important. Noted more cuts now that in the 80's, less people responding despite more technology. Who are the people who might do this now? (Or perhaps who are those in those positions now but choosing to make cuts)

J - Noted challenge of modern technology, shape limited choices. Globalisation means one country can't do something in isolation. Wondered if characters were on the net..

C - Last time it was about a blog (?) archive of 47 work. Re-enacted in gallery. Interesting that a visitor mentioned eisenstien. Noted real challenge the politics of form. What difference, impact will one form, style have than another.

Other considerations from listening:

Self guided self help usually those already high achievers and self discipline

People identify "with a character in multiple ways..its the story"

'Re-articulating history'

'Cultural memory'

Making work is research of form, content, context, audience.

Goal setting - Making a plan. Am I convinced I will get this done - NO! But maybe a 10minute piece with longer interviews available.. MUST type these dates and tasks up. Give 10-15 hours a week from now!

Still taking photos...

For the symposium I mainly prepared what was my project, finally, and where I was at. I had a few interviews I intended to show little parts of, so we could hear together the stories. The memories, history, in detail that was beginning to piece together.

So here is a video, or powerpoint, of some of the photos I took. Probably importantly there is so much skyline. Looking at the stars, the breadth of what the 47 were struggling for and gained, things and thoughts that had not even begun in so many other places. And of one or two women, one who is working with me and another who maybe would like to, but is really important to have in the work. Originally she didn't want to be interviewed but on the last day of the shoot she agreed, she glowed and engaged so well. It was quite moving. She worried her memory would let her down, and she didn't speak like the other political people. That's not the style I wanted, not the only style. Women, I think speak differently and I like that and want that. Politics is ours, this world, the everyday, the everything is ours. We could and should talk of it however we wish. My challenge was how to make the invisible visible but in the process and chats with her.. she grew to feel more confident and will be within this.

I spoke for a few seconds to Daniel R after his session on power, all the way through I wanted to through something like a spoilt brat. Do you think we are thick? Don't you think we understand power operates beyond the obvious? And are Fouc and Choms the only ones? Marxism and dialectics is within this.. is within the relationship of structures power, or where the powers are but some of us are less conscious or confident of our powers and abilities.

He made it seem there was a choice of only seeing the state and government or seeing power in how it manifests itself everyday. It is both. It is both.

I realised lots of others got into his session and M was understated in her questions though they were sharp and unearthing, I think he didn't even realise this. Never underestimate M, she is a layered person with so much more than many people realise.

But I caught D on the way out, or so I thought, out of the room. And said I would like to talk to him, he suggested going to his room but that wasn't possible. He then asked what I was doing, I said REPRESENTING RESISTANCE, he said F would have said PERFORMING RESISTANCE. Not sure I agree that one stands against the other but together, together as a participant in this and more, it is both. And if nothing else but a need for me to reflect on my shameless anger.. I have that now. 4 words that say so much more. By attempting to represent, I perform and I am with all the conversations that have gone on..

Housing and 47

Housing was important then as it is now. Affordable and the mainly unaffordable. Looking for examples of what was built in the 1980's but the 83-87 council and I cant find a list - Apparently Croxteth was a key area. Also the 'pigeries'? Just spoke to Harry S and he said if you look at the new builds and see Chimneys, the ones with chimneys are ours!

In SEP - Found out from Felecity, another of the 47, that the reason the houses were built with chimeys is due to the Miners Strike that was going on at the time. Supporting the use of that fuel and the workers.

47 Summary - updated 28.9

As we are asked to 'consult 'ourselves on what public services should go, and how to pay for the current economic crisis, this moving image project will explore how Liverpool City council faced with similar choices in 1983 and returned millions of pounds of grants to Liverpool from the Tory Government built 5000 homes, 3 parks and 6 nurseries and created hundreds of properly paid jobs and traineeships.

In early 1987, despite active widespread support, 5 law lords upheld a decision of an unelected auditor to surcharge and expel the 47 elected councillors from office. With over £340,000 surcharge the Liverpool 47.

A few months later, on June 11th 1987, at the general election, Tories are returned to power nationally. In Liverpool Labour fought under the banner of 'We support the 47' and won a landslide vote, which had it been repeated nationally would have seen the Tories into a minority.

The then Labour leader, Neil Kinnock, called the campaign led by the 47 as a 'grotesque chaos' and media and politicians queued up to discredit those involved. But whose chaos begun to turnaround the criminal poverty that many people were subjected to? And whose chaos is now cutting vital jobs and services across Liverpool and nationally, 35,000 redundancies notices that have been sent out in Sheffield and Birmingham alongside severe cuts to vital services.

This project will be an intimate portrait from the individual, mediated and collective memories of many of those involved. Re-opening a chapter of history of working class history, hidden and distorted. Making the invisible visible, to look back and forward simultaneously.

Characters: Members of the 47, a housing worker, a photographer and activist have already given interviews offering a thought provoking and humorous insights into what democracy could look like, and what politicians could look like and most importantly do if they were to really represent thier communities.

Dave Sinclair, Photographer, has agreed for his photographs to be used. One of the few journalists allowed into any meeting and event over that period. His photographs include key moments in this political events and of landscapes and members of community with a considerate and critical eye.

Often women are under exposed in histories of all kinds and we aim to try and encourage women involved at that time to speak and hear their memories and experiences.

Wider project engagement: Ideally I also want to gain more involvement from a wider group of people. A conversation in the city and other cities about what is happening and what could happen. Perhaps send a letter about the project to 47 houses that were built by the council, what did you know? What does that mean to you? What do you remember of that time? Requesting responses, verbally and visually.

Visually - The piece will incorporate photographs from Dave Sinclair and others of water..movement and landscapes, Parks, cityscape and activity. Allowing stories to weave in and out of locations and places. The past and present interwoven.

Questions

What did it feel like to be involved in the city council campaign?

What was it that drove these people to break the law?

How was surcharge paid? By who?

What impact did the experience have on your life?

What's the relevance of 47 today?

What do you remember about 47?

What makes you smile looking back?

What are you personally proud of having been involved in?

What are you proud of having done?

What do you think most people know of Liverpool 47

What would you like them to know more?

How did you involve wider public?

How did you get involved?

How has this influenced your life?

Layers

How do I make invisible visible - from whole story to women and process.

How do I ensure women involved and speak and express story.

For us:
Why do this project?
Why do this project now?
What did the Liverpool 47 mean to you?

What would you like to find out?
What were the most important elements in making the battle as particpatory and successful?
What do you think this project will achieve?

Why do you think there are so few women who are happy to be interviewed?
How can we change that?
Do you think womens voices and memories differ to mens? What does that mean here?

What do you personally hope to achieve?

Am up...

Its half past seven in the morning and I'm up! Been awake and excitable and nervous for a few hours. 47. Some thoughts and questions I could ask and should ask. Images and possible use of time lapse as MF said he might be interested and watched his work - incredible...koyanascatsi...(SP?) comes to mind.

How do I work collectively but have people with clear roles? 47 Memory...collective and individual memory...mediated to become nothing, or more? Or just one view of history than denies others?

Limited and hunted media = chaos South London Press - What am I looking for?

So much could go on and now I'm talking and asking others for involvement and help...and I got 5 replies from texts and calls yesterday:

TC - Accommodation and space to interview in Sep

TA - Will ask about camera people

DS - Look at his photos on Monday

MF - What is project? Money? Accommodation

BN - No money, not possible but good luck

Reminds me I need and want to go back into looking at how Cinema Action worked.

So quickly it can all move and be still at the same time. I'm loving being at home too a sense of homeyness and I like it. (Maybe because I am also doing rather than procrastinating!) I like it when I get things done, which always helps me be a better woman!

Watched Capitalism a love story MM, not that keen, mixture of camera, sweeping shots beautifully framed and then rushed unfocused others but the stories there and the quality makes sense in the story. Overly beautiful shots in this could take away...but 'up the yangetze' had amazing shots and that didn't take away the story...stunning sweeping shots.. but very grounded clearly focused documentary. Lucky to have watched it in Sheffield in 2008, bought it after too. And I will watch more over the coming weeks - drama, doc, installations feed into it, onto this.

Sherlock 3 part drama has been on, texts used in shots, maybe text and emails can more openly be used within a piece as opposed to outside of it. Need to re-look at John Akmofrahs MS at BFI southbank about memory.

Could or should I put you under the banner of rooftop collective? it would feel better and give life and focus to RC outside of just me or us. Do I need permission? Support of 47 officially? Need also to check that with LL. Also £ and process.

Oh la la this project is alive!

Without you

A little time at the LRC looking through emails yesterday till I got down to what I'd done before meeting Anna R. I went over the list I'd sent her and saying some of that out loud was good. Life brings layers together.

Looking at NSSN conference with the hint of cultural additions, Suzanne Muna added her work as there were more connections, more of a relationship and confidence from her about her work. It was already out there, on covers, on flyer's, she was an artist and had work ready for a mobile exhibition. She is also one of the Defend the 4 hounded by Unison out of her role for 2 years. The others I asked maybe felt less engaged with me or with the works or possibility. But I did it with little efforts and other peoples engagement and practical nature.

Memory keeps reoccurring as a underlying theme, area of discussion and investigation. Interesting, or more interesting to me right now as my working memory is of the lowest 10% for my age group. I have been looking at ways round it with others too, but I have memories. What is it I remember? What I feel? but not dates or statistics or detail. I rarely recall all of that but sometimes general ideas around it all - and it comes out in conversation, it gets deeper and better - and clearer. It can often be clearer and I don't know it till if comes out,, whats bubbling under there....what is there but needs space to breathe and mix up itself as we speak, as I speak, as you speak as we listen and see, and see.

So she's happy with the 47, as she feels I am and says work backwards. I like that, its what I tend to do. Set a gallery screening/event date here and maybe one in Liverpool (WOW?).

Its a lot of work and one shoot of 3 days won't be enough, cant be enough. Last 10 minute piece was shot over 5 days. Then 40 was shot in under 3 hours. So its possible but needs incredible planning. I need to know where I am and where we are in all this from to place, we need a clear schedule - separate some people, a little together, a little apart. especially for women away from men. (Wonder why DC said if it was about memories then KM? Are memories seen as less important? Less Objective? If that's what we remember then in some ways it doesn't matter what happened, its only what we have in our minds, consciousness? How do we see the past, feel the past, create a past? How do we articulate it to others? And which others?

I'm not excited, I'll be honest, but scared. Its such a big project, I cant share it all, but I could open the doors of the stories and see.

Without you 47? Maybe title? What would we do without you? What would we have without you? Parks, Homes, Jobs?

To Do by symposium and next tutorial:

1. I page synopsis
2. Schedule backwards & book gallery May 2011
3. Blog - for assessment needs editing and focus on criteria
4. Schedule for shoot and crew
5. Funding plan & Crowd funding model
6. Connect with Red
7. Reading on memory

Pictures

Meeting Dave Sinclair today - photos from Liverpool 80's and the Liverpool 47 Council.

Maybe I could also ask for Alan Hardmans Cartoons? (Men again, men?)

Some photos in the Book Liverpool a city that dared to fight, those expelled by Labour, Walton Prison...

Would like all photos on a slide show on DVD or part of an exhibition. Building houses ad, Cellar in Huntely (where interviews will be held). Tina C pregnant with Dave & Ti's son Jack 1984. Shaw st, Percy St. Big demo jack was born 2 days before...

Paving stones on trolly

Kids in mersey

Locations

Young students march

So before I go some reading:

1:

Roots of Liverpool - Special?

Population 1000 in 17c, to over 200,000 in 1841 due to Slave trade, docks etc.

1840's also sees Irish famine and 500,000 Irish come to Liverpool

14:

'Blood and anger of Irish - low wages. Divide and Rule. Casual Labour. Drop in wages despite expansion of Capital.

15:

'TU was restricted to the skilled trades who jealously guarded their posative principles'

16:

NALGO (TU) built by a tory!

1888 Liverpool Trades council revived 'Greatest depth of union organisation...from unskilled"

17:

LTC in 1891 has 121 delegates and 47 trades covered representing 46,000 workers

1900 LRC formed

18:

1910-1914 'Shadow of Revolution hung over Britian" Trotsky

18/19:

Trotsky argued "neither recession nor an economic upswing necessarily radicalises working class or results in strikes. It is the change from one period to another. " With a new generation of young workers impatient of LP and 'ossiefied TU'.

20:

Dock strike 1911 TOM MANN (Man...man..) meeting at Canning Place with 2-3, 000 people. After dockers won, Walton women rubber workers took strike action . "union ale" shared...

21:

13:8:1911 Troops drafted in with live amunnition. Behind barricades residents and community stood for 36 hours. 2 days later 3000 workers marched to Jail, jail was full.

22: 14th Aug eve of General strike (This day I ran away to Liverpool 1987)

23: Terrorial army forced to surrender and dual power exsisted!

1919 police strike

1926 General Strike UK

1932 Birkenhead Riots

50:

Seeds of conflict from Thatchers public expenditure cuts.

52: Red Clare

Companies offered relaxed planning

100% Capital allowance

1980 Liberals put through 34% rent rise.

'Stolen from our eyes'

As workers and the general public consult themselves on what should go and how to pay for the current 'crisis', you wonder, I wonder, Is there a choice?

Apparently the government is skint, no not the actual MP's and ministers, infact the cabinet consists of over 18 millionaires. And Cameron, and his family, have assests of over £18 million pounds. So easy to look at a budget and numbers and not see the cost, or the blame, of this crisis.

As the coatlition government slowly but surely attempts to balance its budget, we wonder, where is the money? Where did it go?

And where are the words that say no to this? Where are the actions? Where are the voices we'd expect, and hope for, on a day, a week, a life like this?

I still see roses, cam smell them too & they light up my spirit and help me breathe. Without you, without them, a colourless, odourless life would exist. I want to live in colour.

Services have been reduced, collective specialist services, things, people, spaces which make, have made our lives easier, less painful, less barbaric and more. They have given us material and practical support to live, with someone, without someone and so should it, could it go on.

But yesterday and some yesterdays before we let go a little, a lot, and they 'stole from our very eyes'. Some people said there hands were safe, steady and steel but underneath a wall of promises, were eyes and bellys full of greed. Stolen.

Anti cuts alliances spring up across the country, reminiscent of the Anti poll tax unions with a memory of hope and possibility. Whilst cost savings, effectioncy, freezes... are splashed across our conciousness and as rains in a drought. When did we actually run dry? Where did the waters go?

'Stolen from our very eyes'. 'I will rise' like a phoenix from a flame, I will return. I will return' (Sinead O Connor TROY)

Parallel times and parallell lives- Thatcher, Blair, Brown & the boys - passing on the mask, beneath which you steal from us, blame us.

Parks and gardens GMB branch 5?
Imagine if this didn't exsist? Where would you go? I imagine what it would look like, what it would smell like - 'stolen from our very eyes'.

Handsworth Songs (1992 C4 61m)

Been meaning to watch this again for a while, finally got hold of a copy at LSBU library. (Oh I love it when you can get hold of somet!)

It sets a visual context by shots of industry and black workers in that..building up to some interwoven narration, almost poetry. Interspersed are the voices of many people involved in the Handsworth riots, and those dealing with the repercussions. With archival footage of the black workers conscious of how they might be deemed by white workers as they migrated.. the story doesn't end there. These riots were at the time of the miners strike and also whilst the Liverpool 47 battle went on.

Some of the various shots for me to consider:

• Industrial, traffic movement, skylines, nature, CCTV, Police, group shots of meetings and organisers, interviews, arguments documented, graffiti, general public movement everyday, statues of leaders of Britain, other archives, some turning toys... dark and menacing.

For me:

1. Possible Thatcher masked person,
2. Statues in Liverpool
3. Parliment
4. What else was going on visualised

1. Footage of newspapers
2. Quotes, words
3. headlines of where the money is
4. Tighten belt
5. What is socialism - trails by Stalinist then and now Defend 4
6. Redundancies tactic
7. Parks,nature, growth
8. Housing
9. Maps, A-Z
10. Other councils then and now
11. Unaffordable housing prices - evictions
12. Bob C and Brendan B - what now?
13. ?Any poetry from then
14. ? 's was it worth it? Participation and process.
15. Music - varied 'What about the WC?' LKJ

47 steps closer

Met with Lisa L today, she originally thought we could do a project about the Liverpool 47 councillor (1983-87). She is up for Producing a documentary and will be brilliant at this. She is also 6 months lumpy... so we will get one 3 day shoot done in early Sep. Several people agreed to be interviewed from my last visit so we can follow that up.

I need to draft the synopsis by the 13th August, why make the film now, what is its relevance, what are we focusing on, whats the story etc.

Am glad, think the history and how people participated and why is so hidden or distorted. Right now what choices have we got?

On the eve of the budget cuts - Do we have a choice?

I popped into college today, partly to see about kit and also it was National day of Action to defend education. I didn't know what was going on at LSBU but through someone heard a little. It reminded me of the fact that everywhere I turn right now, the axe is falling or hovering overhead.

So what do you do? What do I do? Sit back comfortably and let it pass over me, or do I take part? And here, in this, do I weave in my world so completely? Or will I regret the opportunity to selfishly 'create'?! That suggests that responding or connecting to the real world context is not selfish, it is. It still is, for me too.

After looking at kit, and possibilities, I thought about the projects I might want to do... complete ways of seeing 40, yes and perhaps develop it. Upload the version of Last Picture of you onto youtube, there is a spelling mistake but what the hell?! I always wanted to come back to that and perhaps animate the piece and add workshops... maybe, sometime, maybe.

But on the eve of the budget, as I stood within the LSBU protest, I know we have a choice. I have a choice and I want to share some of what I am seeing, get closer.

I got a train to liverpool, 16 years old, and walked into the end of one of the most exciting and also challenging parts of recent British working class history. I get lucky sometimes.. The Liverpool 47 were councillors who decided not to set a budget within the boundaries the Tories had set out, they punished the city for voting labour with £500million less grants than previously. The 47, with many people behind them set a budget which let the city begin to breathe.

I spoke to a friend, and photographer, who I met then. We will interview a few people next week, its a massive project, but I don't want to walk away from this, however dodgy my production skills are. Your there, waiting to be opened up and shared. And I will learn, as I do more about you and I need to.

Funny, some months ago, I made a quick not overly planned short called INSIDE OUT. (I have re-edited part of this, the end closer to the begining and sound levels more sorted. Needs more work, though it may have served a purpose..) Towards the end of the film, two books are side by side, ' The artist way' & 'Liverpool a City that dared to fight'.