Network Event 03.10.2024

Introduction
Audun kicked off the event by introducing the TYAOslo program, ASSITEJ Norway, the course of the evening and the importance of discussing humanitarian art, article 31 of the Convention of the Rights of the Child, and accessibility in the arts.

Presentation by Polina Struzhkova:
Polina explored the concept of humanitarian art and its role in helping communities. She spoke about two projects: Uppsala Circus, which works with children with challenging behaviours, and the "Shalash" foundation, which supports adopted and vulnerable children through theatre and art. She also highlighted her work with the GREAea theatre company and INCLUSION theatre schools, which face an uncertain future.

Presentation by MAx Provenzano:
MAx shared his project “Borderslides,” which involved working with children in Cape Verde to create art from their surroundings. He emphasized how informal, community-driven art can challenge structures and empower marginalized groups, allowing them to tell their own stories and build a sense of identity.

Artistic Panel:
A panel featuring Polina Struzhkova, MAx Provenzano, Bendik Nordgaard (Flying Seagulls), and Varun Narain (puppetry artist) discussed the distinction between humanitarian art and regular art. Key points included:

• Humanitarian art aims to benefit people in need.

• Self-expression is essential for all ages.

• Intention matters - be deliberate in making your art accessible.

• The key is doing something without expecting anything in return and making it accessible for people in crisis.

The Challenges of Humanitarian Art:
The panel addressed the difficulties of working in crisis zones. Bendik shared the emotional challenges of performing as a clown in refugee camps, emphasizing the importance of creating moments of joy for children in difficult situations. Varun and Polina discussed how political climates can make art dangerous, especially when it challenges oppressive regimes or involves working with children in chaotic environments.

Responsibility of Artists:
The discussion touched on whether artists have a responsibility to break barriers and create art with a bigger purpose. Polina encouraged artists to find their own way of doing this, while Max and Bendik emphasized the importance of action over overthinking. Small acts can have a big humanitarian impact.

Handling Trauma:
When working with traumatized children, the panelists stressed the need for careful preparation, simplicity in approach, and an openness to the environment. Polina highlighted the responsibility to present quality art, as poor performances could discourage children from engaging with theatre in the future.

Artistic Performance by Varun Narain:
Varun performed a puppet show about Saffron, showcasing his work around themes of identity and resistance.

Presentation by Cindy Horst:
Cindy Horst presented a spoken essay on how art can inspire during times of crisis. Her work focused on how art can serve as a form of resistance and how it continues to impact communities.

Research and Organizational Panel:
The panel featured Ingvild Lien (General Manager of ASSITEJ Norway, actor, and director with a focus on humanitarian art), Cindy Horst (Research professor at PRIO working in humanitarianism and the impact of art), Adrian Minkowicz (Argentinian comedian, writer, and human rights activist), and Bendik Nordgaard (Flying Seagulls). They discussed the complexities of humanitarian art and the broader implications of humanitarianism in the arts.

Key Discussion Points:

• Colonialism and Humanitarian Art:

  • Cindy raised concerns about the colonial legacy embedded in the concept of humanitarianism. She questioned the notion of "giving back" in humanitarian work when often the help being given comes after something has already been taken. This led to discussions on how humanitarian art can sometimes mirror these colonial dynamics, intentionally or unintentionally.

• Colonialism and Humanitarian Art:

  • Ingvild acknowledged the sensitivity around the term "humanitarian art" and mentioned that when choosing the theme for the event, they understood it could evoke complex discussions. While politicians and donors might overlook the nuances of humanitarian art, the event organizers wanted to stay open to critique and education.

• Loaded terms with the “White Saviour” Narrative

  • Bendik emphasized the importance of words and how they shape conversations, especially around terms like "white savior." While it’s crucial to be mindful of the language we use, he argued that there’s often too much focus on terminology and not enough on concrete actions. He prefers focusing on what can be done to help, rather than getting bogged down in semantics.

  • Adrian, on the other hand, took a more provocative stance, suggesting that he doesn't shy away from making people uncomfortable with his work. He believes that challenging people is essential, even if it means upsetting them, particularly when discussing topics like colonialism and oppression.

• Reaching Decision-Makers:

  • The panel discussed the challenge of getting humanitarian art and activism to influence those in power. Cindy pointed out that decision-makers in the current system are often more interested in competition than change, which makes it difficult to effect structural shifts.

  • Ingvild expressed a desire for more collaboration within the performing arts sector in Norway. She believes organizations need to work together to ensure that art is seen as an important societal force, without hierarchies or status dividing different forms of art. Collective action could make a stronger impact on policymakers.

• Art as Activism

  • Bendik talked about Flying Seagulls as an activist group, highlighting how they don't just talk about the change they want to see—they do it and show tangible results. This approach, he suggested, proves the effectiveness of humanitarian art in real-world settings, making it easier to advocate for further support.

  • Adrian and Ingvild reflected on how art in itself has historically been a form of resistance, particularly in its links to anti-imperialism and anti-colonialism. Adrian mentioned that in some countries, art is still an unspoken tool to address issues that otherwise wouldn’t be confronted openly.

• Audience Engagement

  • Towards the end, the panel invited input from the audience, sparking a reflection on the role of art in making a change. One audience member supported the idea that action speaks louder than words, praising the work of the Flying Seagulls for being in the heart of crisis zones, where change is most needed.

  • Ingvild acknowledged that while art should indeed be accessible and visible, the system, is complex, and lasting change takes time. However, she agreed that it is crucial for artists and organizations to continue pushing for more inclusive and impactful art.

With special thanks to:

• Safemuse

• Polina Struzhkova

• MAx Provenzano

• Varun Narain

• Bendik Nordgaard

• Flying Seagulls Norway

• Cindy Horst

• Ingvild Lien

• Adrián Minkowicz

• Sentralen

• Nicolai López

• NUPI

• PRIO

• Oda Krüger